RAW_Re-embrace The Beauty of Letterpress Printing

1

EXPLORE & CELEBRATE THE ESSENCE OF ANALOGUE INTO THE DIGITAL WORLD. - a mechanism that represents data by measurement of a continuous physical variable, as voltage or pressure.

- using an electronic system that uses the number 1 and 0 to record sound or store information, and that gives results of a high quality.

GLOSSARY PRINTING TECHNIQUES Albion Press An iron, flatbed, platen hand press. American, designed by R.W.Cope, 1822 Aquatint An intaglio printmaking technique, a variant of etching Block printing Printing from a wood-engraved or metal-etched line or half-tone block. The block sits face-up on a press bed and a sheet of paper is rolled over it on a rotary press or forced down on the block on a platen press Blocking press A press on which the metal line block is electrically heated to stamp debossed lettering and designs on to a hardback book cover Chromolithography A method of making multi-colour prints. This type of colour printing stemmed from the process of lithography which includes all types of lithography that are printed in colour Columbian Press Iron hand press, American, invented by Clymer of Philadelphia, 1797 Cylinder machine A printing press which provides an impression via a curved surface Digital printing the process of transferring a document on a personal computer or other digital storage device to a printing substrate by means of a device that accepts text and graphic output Direct-to-media A type of inkjet printer that can print on the smooth surface of virtually any substrate, e.g. wood, metal, glass, ceramic, plastic or paper Dot matrix printing A type of computer printing which uses a print head that runs back and forth, up and down, on the page and prints by impact, striking an ink-soaked cloth ribbon against paper Dry proof A genetic term for proofing which does not use water or lithography, but makes use of dyes, light-sensitive powders, or laser, photographic or digital exposures Dye-Sublimation A computer printing process which uses heat to transfer dye onto materials such as plastic, card, paper, or fabric

Etching The process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal

Offset As in offset lithographic printing, describing the transference of an image from plate to paper via a rubber-coated cylinder

Flatbed press A press that prints from flat forms (a platen press)

Planographic printing A means of printing from a flat surface, for example, lithography

Foil blocking Process of debossing metallic foil into a book cover or printed packaging using a heated block and mechanical pressure Gravure An intaglio print process in which the ink is held in tiny engraved pits below the surface of a metal plate. It is used for high-quality security printing, such as stamps and some banknotes Handpress A printing press that is worked by hand, not driven by a motor Hectograph A printing process which involves transfer of an original, prepared with special inks, to a pan of gelatine pad pulled tight on a metal frame Hot foil blocking/ printing Debossing lettering into a book cover using metallic foil and a heated platen press Hot metal typesetting Refers to technologies for typesetting text in letterpress printing Impression (letterpress) The slight debossing or indentation in the paper where the letterform is forced down on the sheet (visible from the reverse) Inkjet printing A type of computer printing that creates a digital image by propelling droplets of ink onto paper, plastics or other substrates Laser printing An electrostatic digital printing process that produces high quality text and graphics by passing a laser beam Letterpress printing A method of relief printing where the ink is transferred under pressure directly from the face of the letter to the paper Lithography Invented by Alois Senefelder circa 1796. With commercial offset lithography, the image is transferred from the plate onto a rubber-covered cylinder before being transferred offset to the paper

4

Platen press A printing press which has a flat impression (as opposed to a cylindrical one) Punch press A very powerful press which forces a male die-form into a female form, cutting a metal strip between two. Used in stencil cutting Rotary press A printing press on which the printing surface (lithographic or intaglio plate) is placed around the cylinder to revolve with it, in contact with the paper Screen printing A printing technique that uses a woven mesh to support an ink-blocking stencil to receive a desired image Thermal printing A digital printing process which produces a printed image by selectively heating the thermal paper Woodblock printing A technique for printing text, images or patterns craved on woodblocks printed on textiles and paper Xerography also known as electrophotography, is a printing and photocopying technique that works on the basis of electrostatic charges

A message in prints is not like a message in time.

A message in time will last for 10, 20, 30 or 60 seconds.

Like a stroke of lightning, a message in time lives gloriously for a moments and then dies.

A message in print can die just as fast. On the other hand, a message in print can be read for 10 minutes, can be taken to the store a week later or perhaps saved for several lifetime like a bible.

If you have something important to say, your message will last longer of you put it in print.

Your message in print will live as long as it is relevant to the needs and interests of your marketplace.

Your message in print can life forever.

THE BEAUTY LETTERPRESS

I am the printing press born of mother earth. My heart is of steel, my limbs are iron, and my fingers are of brass.

I sing the songs of the world, the oratorios of history, the symphonies of all time. I am the voice of today, the herald of tomorrow. I weave into the wrap of the past the woof of the future. I tell the stories of peace and war alike. I make the human heart beat with passion or tenderness. I stir the pulse of nations, and make brave mens do braver deeds, and solders die.

I inspire the midnight toiler, weary at his loom, to lift his head again and gaze with fearlessness into the vast beyond, seeking the consolation of a hope eternal.

When I speak, a myriad people listen to my voice. The Saxon, the Latin, the Celt, the Hun, the Slav, the Hindu, all comprehend me. I am the tireless clarion of the news.

I cry your joys and sorrows every hour. I fill the knowledge, power. I epitomise the conquests of mind over matter. I am the record of all things mankind has achieved.

My offspring comes to you in the candle’s glow, amid the dim lamps of poverty, the splendour of riches; at sunshine, at high noon, and in the waning evening. I am the laughter and tears of the world, and I shall never die until all things return

Visuals above show Letterpress Prints have a very tactile quality, with a slight debossing effect evident where the ink has been laid.

to the immutable dust.

I am the printing press.

-Robert H. Davis

6

PLEXI-TYPE

REPLICA OF MOVABLE TYPE

“ I have seen the power and glory that is a laser cutter. If I could ever have my own, I would be on that in a second. I love handmade, but I also love hybridity, especially when these are overlaps in [ technique and technology.� ] Shellie Lewis,

Laser Cutter for Intaglio and Letterpress Printing, 2012.

Plexi-Type is inspired by the veneer type production process, which were produced exclusively by the Hamilton Manufacturing Company. The veneer type is invented by J.E. Hamilton in 1880, in Two Rivers, Wisconsin. The veneer type is letter design cut from a thin piece of Holly Wood, then the letter design was then affixed to a wood block, sanded and polished on the printing side, and planed on the back side to bring the block down to type-high.

In this project, a combination of both technique and technology is explored, by recreating veneer type using the perspex (plexiglass) to replace wood and cut out by laser-cutting machine, which creates a very precise cuts to the letter design.

7

“We are all type consumers.

Typefaces/ fonts play a vital role in our everyday lives.

They help us to navigate, to make choices, to shop, they keep us safe and they play a game of sleight of hand.�

Sarah Hyndman, Founder of Type Tasting

INTRODUCTION TO TYPEFACE ypefaces are the communication link between the author and reader because they take the place of the human voice. Without typefaces there would be a tremendous gap in the ability of civilised people to communicate effectively.

T

CHOOSING A TYPEFACE There are five important factors to consider when choosing a typeface: (1) legibility, (2) readability, (3) appropriateness, (4) reproducibility, and (5) practically.

The twenty-six letters of our alphabet are the ingredients for typefaces. Each letter has a specific shape and designates a certain sound, and the design of each shape can be altered to make a specific typeface.

PSYCHOLOGY OF A TYPEFACE looking through a typeface specimen book

he typeface is the printed record of the human voice. Some typefaces talk; others shout. Various typefaces are used to draw our attentions; then after out attention is obtained, other type is used to talk to us. Some type makes us think or feel old; others have a new, modern look. These display a bold feeling and flow smoothly.

T

Some typefaces are designed to encourage the feeling of gaiety while others create a formal mood.

Entertainment, closeness, negative reaction, ease of reading, and variety are all within the scope of the typeface. Most often type is used to talk to us and to relay the thoughts and ideas of the author.

In this case ease of reading is an essential virtue.

Typefaces have texture in that they create a look or feeling in the same way that threads in cloth do.

Typefaces react with the mind of the reader to convert specific information. A poem that colourfully describes the feelings that typefaces can cause is presented on the right page of this spread.

TYPE CLASSIFICATIONS here are several hundred specific kinds of typefaces, each face having its own name. The majority of graphic designers never learn to recognise all of these types by their actual names, but they are capable of placing most kinds into a specific classification.

T

The type that appears in this book is selected from a wide range of foundries and designers from around the world, and every typeface was vetted for quality and design integrity. They are organised in a pragmatic way, sorted in groups that borrow some aspects from traditional, history-based classification but without relying too heavily on dated dogma.

10

TYPE CLASSIFICATION Typefaces have Feelings

HUMANIST SERIF

TRANSITIONAL SERIF

CONTEMPORARY INSCRIBED/ SERIF ENGRAVED

NEOGROSTESQUE SANS

GOTHIC SANS

RATIONAL SERIF

GROSTESQUE SANS

GEOMETRIC SANS

Some interesting aspects of types that abound Are the various natures in which they are found, Preserving in print our knowledge and lore, They often reflect what their words have in store.

They’re handsome in concept of pureness of form And grotesquely mutant away from the norm; They’re easy to read in a functional way And puzzling enough for a mystery play.

They’re blatantly male, their muscle they flex Or allure with the charm of the opposite sex.

They’re raucous and wild and sober and mild; And they’re formally dressed and casually styled.

They’re squat and they’re tall, some fat and some lean, And they’re dull or they shine with a radiant sheen.

They’re slanted and bowed and stand up erect And they’re happy and gay in garlands bedecked.

They’re humble and proud, warmhearted and cold, And they’re weak and they’re strong, timid and bold.

They’re rough as a tweed and sharp as a pin And they’re solid or open or textured within.

They’re fresh as a spring and whiskered with age And often burlesqued to enliven the page.

They’re mellowed as wine and tempered like steel And some of them have a spontaneous “feel.”

Some seem to be moving with flashes of speed, Or crouch in tense stillness awaiting your heed.

They’re ribbon and rope and some have the fate To be cut out like stencils on the side of a crate.

HUMANIST SANS

NEOHUMANIST SANS

GROTESQUE SLAB

They’re pictured as cutting from branches of trees And broken in sections to build as you please.

They’re made up of swirls and wedges as well To weave and embrace with an exotic spell.

Typefaces have feelings, that’s plain to be seen Even those missing - save their shadows, I mean.

From announcing a tea to swaying the mob, There’s a typeface designed to foster the job.

GEOMETRIC SLAB

HUMANIST SLAB

SCRIPT Edwin W. Shaar

he first roman typefaces following centuries of handwritten forms, Humanist serifs have close ties to calligraphy. An oblique stress, gradually modulating from thick to thin, shows evidence of pen held at a consistent angle. That angle is often echoed in letters topped with calligraphic terminals and finished with asymmetrical serifs that gently transition from the stem.

T

Very calligraphic, with a consistent stress angle and moderate stroke contrast. Bracket, often asymmetrical serifs.

moderated stroke contrast

small counter large aperture

bracketed serifs

long tail is a smooth continuation of stem stoke

ADOBE GARAMOND PRO

Designer: (Claude Garamond, Robert Granjon) Robert Slimbach // Foundry: Adobe Country of origin: (France) United States // Releasing year: 2005 // Classification: French Humanist Serif

efined and readable, Garamond is probably the most popular of the Humanist serif. Long time users of Adobe apps will be familiar with Robert Slimbach’s first crack at this classic typeface, Adobe Garamond, but Garamond Premier is a major improvement. The most important difference is that Slimbach drew separate subfamilies (optical sizes) corresponding to different sizes of metal type.

R

This lets Garamond’s delicate beauty stretch out in headlines but no break apart when small. Despite a subdued character in Caption and Regular sizes, Garamond is never dull by any means. Use with care: it has a formal personality that might not fit more casual topics. Good for Infusing a document with importance, reverence or poetry.

13

s we move further away from type’s calligraphic roots, contrast increases and the stress axis turns more upright and variable within each typeface rather than staying consistent as it does in the Humanist serifs. Letters in these typefaces are more regular in shape, proportion and apertures are slightly smaller. Transitional serifs still have a gradual, bracketed transition from the stem, and terminals are often bulbous.

A

Slightly calligraphic, with variable stress angle and usually more stroke contrast. Bracketed serifs and bulbous terminals.

very flat upper stroke and large aperture

more stroke contrast

ball terminals bracketed transition from the stem

BASKERVILLE

Designer: (John Baskerville) Frantisek Storm // Foundry: Storm Country of origin: (United Kingdom) Czech Republic // Releasing year: (1750s-1760s) 2006 // Classification: Traditional Serif

askerville is the quintessential Transitional serif, positioned neatly between the dynamic calligraphy of the Humanist and the static construction of the Rationalists. Like many of the old-style set ids, there are a few digital versions, but all fall woefully short of the original design by attempting to create a one-size-fits-all typeface form the variety of metal sizes. Frantisek Storm’s family is not only more

B

functional, with large and small optical sizes, but also revives Baskerville’s handsome, vigorous spirit.

These rich curves feel crafted by hand, not computer.

Dashing - maybe been exuberant - Baskerville has been known to steal the show, so be sure the content fits it (or doesn’t mind playing second fiddle). Good for: Deboniar swagger.

15

t the opposite end of the spectrum from the Humanists, Rational serifs have a strong, vertical contrast between thick vertical stem and fine horizontal hairlines. Because these typefaces are not so much written as ‘constructed’, their letterforms are very even in proportion and structure. Serifs are generally symmetrical, and can be bracketed, like Melior and Miller, or thin and abrupt, like the ‘Didones’ (Bodoni and Didot).

A

A regularised structure with vertical stress and moderate to high stroke contrast. Some typefaces have thin, unbracketed serifs. Ball terminals.

high stroke contrast heavy ball terminal

large bowl extends beyond upper stoke

thin, unbracket serifs

H&FJ DIDOT

Designer: (Firmin Didot) Jonathan Hoefler // Foundry: Hoefler & Frere-Jones Country of origin: (France) United States // Releasing year: (1784-1811) 1991 // Classification: Didone Serif

f the two progenitors of the Rationalist approach -Bodoni & Didot - Didot is more extreme. This is the furthest transitional serif type gets from calligraphic form. While most digital versions of typefaces represent just one optical size, limiting their use, Didot offers seven. This result of a Harper’s Bazaar commission for a new version of the face that had long been a signature of the magazine.

O

The redesign team asked Hoefler for a family that maintained its hairline serifs over a range of sizes.

Hoefler delivered seven optical sizes, each with three weight and corresponding italics. With this arsenal one can set Didot at 6 or 96 point and it still look like Didot. Good for: Fashion, wine, the expensive and romantic.

17

n the last forty years, type designers have borrowed the most pragmatic aspects of the precious styles to develop a new breed of highly functional Text faces, designed to solve the problems of the various substrates and reading environments. These designs generally sport a much larger x-height and lower stroke contrast than traditional serif typefaces, but are otherwise not directly related.

I

Styles vary but most have a large x-height, low stroke contrast and large chunky serifs. Very open apertures.

blunt, wedge shaped ends low stroke contrast moderate bowl and large aperture

long, sharp, wedge-shaped serifs

NEUE SWIFT

Designer: Gerard Unger // Foundry: Linotype Country of origin: The Netherlands // Releasing year: 1985 (Swift), 1995 (Swift 2.0) // Classification: Contemporary Serif

edge-shaped serifs (like the wings of the bird that give Neue Swift its name), along with the large x-height and open apertures, were remedies for the poor quality of newspaper printing in the 1980s. They also produce a strong horizontal flow, appropriate for quick, easy reading. These functional aspects gave the typeface a very distinctive look and were soon seen as aesthetic advantage for

W

branding and magazine, where they added a fresh crispness to text. Gerard Unger and others have improved and expanded the typeface over the years, and the current version has more weights than the original. See also Matthew Carter’s Charter, which was develop around the same time and features similar design ideas.

19

Derived from chased or engraved letters. Low stroke contrast in common. Serifs can be wedged- shaped or similar to those of Humanist.

Some have flared terminals.

nlike the other serif styles, derived form the stroke of a pen or a brush, the typefaces in this category have a closer relationship to letters that are carved or chiselled from stone (also known as Glyphic), or engraved on a hard surface like sipper and steel. These typefaces can end their ‘strokes’ with long, graceful serifs (Trajan), sharp wedge serifs (Modesto) or no serif at all, but a thickening flare instead.

U

short arch with sharp lapidary terminals low stroke contrast

only indication of a serif is a subtle flaring at terminals

ALBERTUS

Designer: Berthold Wolpe // Foundry: Monotype Country of origin: United Kingdom // Releasing year: 1940 // Classification: Inscribed

n 1932, Monotype’s Stanly Morison asked Wolpe B. to create a typeface based on his inscriptional lettering. The result is Albertus, a design that shows clear signs of its carved origins. The model letters were raised from the surface of bronze tablets, not debased, which may explain the unusual angular shape of the counters, which were carved out of the letter shapes rather than the other way round.

I

Flared terminal - in lieu of conventional serifs - were also result of this technique. Albertus has become one of the trademarks of London, used for many of its road signs and official placards. Good for: An official or ceremonial aura, without the pomposity of Tarjan. Emulating wood or stone-carved letters.

21

hen sans serif printing type first appeared in the early mid-1800s, some found the style so strange that they called it ‘grotesque’. These typefaces kept the nickname even after they gained popularity and it is now associated with any and series in this early styles. The characteristic of Grotesque typefaces are regular proportions, relatively static forms based on the oval and fairly closed apertured, with some strokes turning inward.

W

Similar in structure to Transitional or Rational Serif typefaces. Low stroke contrast and fairly regular proportions. Round shapes are often oval, not circular.

very closed aperture with the terminal pointing inwards

low stroke contrast

round shapes are generally squared off, only slightly convex on sides

BUREAU GROT

Designer: David Berlow, Jill Pichotta, Christian Schwartz, Richard Liption // Foundry: Font Bureau Country of origin: United States // Releasing year: 1989-1993 // Classification: Grotesque Sans

he English Grotesque that inspired Bureau Grot come from the 19th century, when sans serifs had a warmth and life that was slowly drained from them as modernism took hold. Shapes are irregular and organic, modulating strokes curve in towards the body and terminate at varying angles.

All of this gives David Berlow’s typeface a dynamic, energetic feeling. Ever since it release as Bureau

T

Grotesque in 1989, the multi-weight, multi width family has been popular with newspapers and magazine, which have enjoyed having a style to fit any space. It was expanded even further in 2006, and the fonts were revised and given more conventional names. Good use for: Lively headlines or nearly any dimension.

23

eo-Grotesques, also known as Neo-Grotesk in German-speaking parts of Europe, are been more rationalised extensions of the Grotesque style.

These typefaces, pioneers by Helvetica and Univers, have very little stroke contrast, horizontal terminal and quite closed apertures. Their homogenised forms are graphically appealing at large sizes, so they often fare better in Display settings.

N

More homogenous forms.

Minimal stroke contrast.

Closed apertures and horizontal terminals.

Round shapes are more circular.

minimal stroke contrast

horizontal terminals stem takes sharp turn at baseline to form small tail.

NEUE HELVETICA

Designer: (Max Miedinger, Eduard Hoffmann) Linotype staff // Foundry: (Haas) Linotype Country of origin: (Switzerland) Germany // Releasing year: (1957)1983 // Classification: Neo-Grotesque Sans

ore than fifty years since its release, Helvetica is the world’s most widely known typeface.

Its popularity is due in part to it attempt at idealised construction: contrast is minimal; strokes terminal at 90° angles; letter shapes and widths are unusually uniform, bucking conventional forms; and the overall texture is atypically even, almost homogenous. The result is useful for logos ad graphic

M

display type, where consistency is desired, but not as effective for long passages of text, where dynamic rhythm and unique letter shape are vital. Neue Helvetica is a 1980s effort to harmonise the previously incompatible styles. Neue Haas Grotesk refers to the original drawing for an even more holistic family, unconstrained by various technological compromises.

25

ome English and American variants of the Grotesque style are known as Gothics. While the differences are sometimes in name alone, there are a few distinctions that can be drawn. These include a large x-height, forms that are simpler and more static, very low contrast, and often a condensed width with an upright stance derived from flat sided rounds.

S

American variant of Grotesque style, with simpler, ore static forms.Usually with a large x-height, low stroke contrast, and condensed width.

low stroke contrast slightly closed aperture

bowl curves downwards from stem

NEWS GOTHIC

Designer: (John BaskervilleDesigner: (Morris Fuller Benton) Bitstream staff // Foundry: (American Type Founders) Bitstream Country of origin: United States // Releasing year: (1980)1958 // Classification: Gothic Sans

n many ways this is the archetypal American sans serif. Designed b the prolific Morris Fuller Benton in 1908, New Gothic (and it Linotype follower, Trade Gothic) became the most popular sans in the States for several decades. Designers growing tired of traditional type were drawn to its clean, sensible demeanour and the versatility of its compact, mono linear structure. Benton only designed a few weights

I

for News Gothic; other compatible styles were added later, some with different typeface names. The digital version shown here is Bitstreams’s, which modernises some of the characters and gathers all the disparate styles into a more consistent family. Benton Sans performs a similar service with an even wider range.

Good for: A perennial no-nonsense workhorse.

27

he most static and clinical of all the classifications.

Geometric sans serifs are ‘constructed’ out go geometric forms with round parts that are circular or square. It’s important to note that, while shapes like the ‘o’ appear to be exactly round, most proper typefaces do not contain perfect circles, but are optically corrected to appear as round as possible while harmonious with other letters. They have minimal stroke contrast.

T

Static and clinical.

Constructed of shapes that are nearly circular or square. Minimal stroke contrast.

round glyph are circular minimal stroke contrast

stroke thins when it meets the stem

FUTURA

Designer: (Paul Reener) Marie-Therese Koreman // Foundry: (Bauer Type Foundry) Neufville Country of origin: (Germany) Spain // Releasing year: (1927)1999-2012 // Classification: Geometric Sans

utura is widely known as the prototypical geometric typeface. Bauhaus experiments in geometric form led Paul Reener to develop a typeface that was initially made entirely of straight lines and circular shapes. This was eventually tamed into more conventional letterforms, but they remained mostly Geometric. Futura’s capital are based on classical proportions, explaining their variable widths.

F

There are countless digital versions, but Futura ND comes directly from original sources, and the latest release includes alternative preciously unavailable.

Caution: the protrusion of pointed apexes (‘M’, ‘N’, ‘w’) is called ‘overshot’, an optical compensation for type intended for Text sizes, but distracting when large.

29

ike their serif counterparts, Humanist san serifs have roots in calligraphy. Their round, dynamic, open forms have higher stroke contrast than the other sans serif classification (though not as much as most serifs). These typefaces sometimes share the binocular ‘g’ and variable letter widths of their serif sisters. Their italics are ‘true italics’ with cursive forms of ‘a’, ‘g’, ‘e’, and sometimes a descending ‘f ’.

L

Counterpart to Humanist Serif. Calligraphic in structure, often with higher stroke contrast than other san serifs.

Open apertures.

pen-influenced downstrokes

soft, rounded terminal moderate stroke contrast

calligraphic pointed terminals

CRONOS

Designer: Robert Slimbach // Foundry: Adobe Country of origin: United States // Releasing year: 1996 // Classification: Humanist Sans

ike Syntax, Cronos echoes the organic feeling and readability of old-style serif type. But, in contrast to the angular energy of Syntax, Cronos had a soft, calligraphic finish with pointed curves and rounded terminals. These letters genuinely appear to be written by a very steady hand. The overall effect is quite pleasant and comfortable. Adobe gave Cronos its optical size treatment, offering low

L

-contrast, higher-contrast type for Display uses, but the adjustments are minimal compared to optical sizes of other families, especially Garamond Premier.

See also the older Today Sans by Volker Kuster.

Good for: Contemporary wedding invitations and origanic goods.

31

NEO-HUMANIST SANS he digital era gave birth to new sans serifs that share characteristic with over classifications but are individual enough to deserve a label of their own. They have a dynamic structure that could be considered an evolution of the Humanist sans, but stroke contrast is reduced and apertured are more open. The round shapes of typefaces in this category tend to be more square than their predecessors and x-heights are larger on the whole.

T

Contemporary evolution of Humanist Sans. Larger x-height. Very open apertures. Usually less stroke contrast.

out-facing terminal less stroke contrast large bowl

short tail with angled terminal

FF META

Designer: Erik Spiekermann // Foundry: FontFont Country of origin: Germany // Releasing year: 1991 // Classification: Neo-Humanist Sans

he first rendition of Erik Spiekermann’s most famous typeface was a commission from the West German Post Office. They never used the design, but the subsequent FF Meta became one of the most successful typefaces designed in the digital era.

The brief was a spatially economical face for use at small sizes on cheap paper. Spiekermann’s solution was a combination of Humanist and Grotesque

T

concepts, a mildly rationalised design with open forms and just enough of the pen in its contrast and forms to maintain readability. The ideas in FF Meta, along with the FontFont label he co-founded, ushered in a new genre of sans serifs that exemplify digital typography. Good for: Modern, readable text; twenty-five years later, it still feels fresh.

33

f one were to weigh the typical example of each classification, these bulky beasts would tip the scale furthest. Although they aren’t simply Grotesque Sans serifs with slab serifs slapped on, these typefaces reflect the proportions, structure and stroke contrast of their serif less counterpart. Ball terminals are common among Grotesque slabs, as are heavy bracketed serifs and closed apertures.

I

Similar forms to Grotesque sans serifs but with heavy rectangular slab serifs.

Closed apertures. Ball terminals are common.

ball terminal moderate stroke contrast

upright tail

heavy rectangular slab serif

CLARENDON

Designer: (Robert Besley) Hermann Eidenbenz // Foundry: (Fann Street Foundry) Haas, Linotype, Monotype, Bitstream Country of origin: United Kingdom (Switzerland) // Releasing year: (1840s) 1953 // Classification: Grotesque Slab

hen one thinks ‘slab serif ’, Clarendon is often the first thing that comes to mind. Its sturdy structure, punctuated by ball terminal, has made it one of the most popular faces of the last fifty years. The versions we know today are generally derived from mid-20th-century modernisations of styles from the early 1800s. Unlike the type that inspired Giza, Clarendon had an increased contrast

W

that opens up the counters. This lets it be used for short passages of text. Serifs are also lighter and bracketed - still heavier than a book serif, but less imposing than Giza’s. There are a variety of Clarendon alternatives that either improve its readability (Ingeborg, Eames Century Modern) or enhance its expressive qualities (Farao).

35

hese slab serifs share the geometrically round or square shapes of their sans counterparts.

Rectangular serifs are unbracketed and generally the same weight as the stems. In fact, all strokes are essentially of the same weight, lacking any perceptible contrast. The ‘R’ leg is straight diagonal and ‘g’ is normally of the monocular form.

T

Similar forms to Geometric sans serifs but with unbracketed regular slab serifs about the same weight as stems.

minimal stroke contrast

vertical terminal

wide arch extends to left edge of bowl

heavy unbracket rectangular slab serif

ROCKWELL

Designer: Monotype staff // Foundry: Lanston Monotype Corporation, Monotype Imaging Country of origin: United States // Releasing year: 1933-1934 // Classification: Geometric Slab

ockwell is a 1930s interpretation of what is considered the first Geometric Slab serif, Litho Antique, an American design from 1910. This provenance contributes to Rockwell’s older flavour, which is more rugged than the more modernist slabs like Memphis (its main competitor at the time), Lubalin Graph (the seriffed version of ITC Avant Garde Gothic) and recent release Archer and

R

Neutraface Slab. Rockwell is slightly uneven with bold weight that stray much further from the regular than current users would expect. In certain respects it looks clumsy, but in an earnest way. So, while most Geometric Slabs seems machined, Rockwell feels handmade and designers often pick it up when they really need something more polished.

37

ut simply, you could take a Humanist sans serif and add unbracketed, rectangular serifs and get pretty close to a Humanist slab. These typefaces often have less stroke contrast than their sans counterparts, and the serifs are sometimes wedge shaped.

P

Similar forms to Humanist sans serifs but with unbracketed rectangular or wedge-shaped slab serifs.

wide arch extends to left edge of bowl slight stroke contrast bowl starts horizontally unbracket rectangular slab serif

PMN CAECILIA

Designer:Peter Matthias Noordzij // Foundry: Linotype Country of origin: The Netherlands, Germany // Releasing year: 1990 // Classification: Humanist Slab

esigned by Peter Matthias Noordzij (and named after his wife), PMN Caecilia is among the most readable of slab serif. It structure is very Humanist, and as close as a slab comes to an oldstyle book face. The difference is very little stroke contrast and unbracketed, rectangular serifs that nearly match stems in weight. These characteristic are very well suited for long text on coarse resolution

D

displays, and that’s exactly why Amazon chose it as the default face for their Kindle. PMN Caecilia also has a very pleasant, inviting quality,delivering text without prevention. Good for Books on low-res screens or in poor printing conditions. Professional but approachable text at the same time.

39

Any typeface that emulates handwriting, whether connected cursive or informal print.

script typeface emulates handwriting, whether its letters are a graceful, connected cursive or the staccato scribbles of a daily shopping list.

Besides formal and informal categories, scripts can also be sorted by the writing tool, such as pen or brush.

Script fonts have become increasingly sophisticated in recent years thanks to technical developments.

A

distinstive wingtip terminal

high stroke contrast

bottom terminal turns inwards

TANGIER

Designer: Richard Lipton // Foundry: Font Bureau Country of origin: United States // Releasing year: 2010 // Classification: Formal Script

decade after his Bickham Script, Richard Lipton followed up with Tangier. The new design continues to explore the possibilities of formal calligraphy but its much larger x-height offers more versatility in where the type can be used. Prior to its public release, it was used by Glamour Magazine, which surely appreciated the spatial efficiency for its covers and section titles. Like Bickham, Tangier

A

offers a variety of swashes, alternative letterforms and extender variants. There are also four weights, including a very dark Black. Good for: Occasions that require elegance, but don’t leave much space for it.

41

CREDITS & ACKNOWLEDGEMENTS Information extracted from: Coles, S. and Spiekermann, E. (2012). Geometry of type. 1st edition. London: Thames and Hudson.

Dennis, E. and Jenkins, J. (1974). Comprehensive Graphic Arts. 1st edition. Indianapolis: H. W. Sams.

Jury, D. (2004) Letterpress: The allure of the hand made. 1st edition. Mies, Switzerland: Roto Vision.

Further Reading William, J. (2012). Type Matters!, 1st edition. London: Merrell Publishers Limited.

Cees W. de Joong and Tholenaar, J. (2013). Type, A Visual History of Typefaces and Graphics Styles.

Volume 1 &2. Cologne: Taschen.

Haslam, A. (2011) Lettering, a reference manual of techniques. London: Laurence King Publishing.

Thank you!

IF YOU WANT NEW IDEAS, READ OLD BOOKS; IF YOU WANT OLD IDEAS, READ NEW BOOKS. Ivan Petrovich Pavlov, 1849-1936

I would like to use this opportunity to express my gratitude to everyone who supported me throughout this project. I am thankful for their aspiring guidance, invaluably constructive criticism and friendy advice during this project work. I am sincerely grateful to them for sharing their truthful and illuminating views on a number of issues related to the project.

Thank you with lots of love! louieleeweiyi

42

44