I II III IV V VI VII VIII IX X XI XII XIII Michael Bierut
Thirteen Ways of Looking at a Typeface
Michael Bierut
Thirteen Ways of Looking at a Typeface
Posted 08.06.04
Wallace Stevens
Thirteen Ways of Looking at a Blackbird
I
Among twenty snowy mountains, The only moving thing Was the eye of the blackbird.
II
I was of three minds, Like a tree In which there are three blackbirds.
III
The blackbird whirled in the autumn winds. It was a small part of the pantomime.
IV
A man and a woman Are one. A man and a woman and a blackbird Are one.
V
I do not know which to prefer, The beauty of inflections Or the beauty of innuendoes, The blackbird whistling Or just after.
VI
Icicles filled the long window With barbaric glass. The shadow of the blackbird Crossed it, to and fro. The mood Traced in the shadow An indecipherable cause.
VII O thin men of Haddam, Why do you imagine golden birds? Do you not see how the blackbird
5
Walks around the feet Of the women about you?
VIII
I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know.
IX
When the blackbird flew out of sight, It marked the edge Of one of many circles.
X
At the sight of blackbirds Flying in a green light, Even the bawds of euphony Would cry out sharply.
XI
He rode over Connecticut In a glass coach. Once, a fear pierced him, In that he mistook The shadow of his equipage For blackbirds.
XII The river is moving. The blackbird must be flying.
It was evening all afternoon. It was snowing And it was going to snow. The blackbird sat In the cedar-limbs.
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Posted 05.12.07
Michael Bierut
Thirteen Ways of Looking at a Typeface
I
Because it works
II
Because you like its history
III
Because you like its name
IV
Because of who designed it
V
Because it was there
VI
Because they made you
VII Because it reminds you of
something
VIII Because it’s beautiful IX
Because it’s ugly
X
Because it’s boring
IX
Because it’s special
XII Because you believe in it XIII Because you can’t not
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Posted 11.13.09
Foreword
Michael Bierut’s essay, “Thirteen Ways of
book showcases Bierut’s post and the
Looking at a Typeface” is often compared
related comments. Additionally, the juxta-
to the poem, “Thirteen Ways of Looking
position of the poem before the table of
at a Blackbird” by Wallis Stevens. I think
contents subconciously forces the reader
that this comparison is too subtle, and
to make the comparison for themselves.
possibly incorrect. The poem is light and
Please read the following article and com-
evokes nature related imagery. The article
ments and post your own comments on
on how to select type is dense, but also
the observatory and designobserver.com.
well written and articulate. Michael Bierut
writes with conviction, and seemingly to
chosen Avenir for this book, as it matches
prove that he does not need to use only
as many of his reasons and I could match
five set typefaces.
with one typeface. Avenir works, I like it’s
history, I like it’s name, I like its designer
Michael Bierut’s article is subjective.
In accordance with his article, I’ve
The medium this article was distributed,
and it was there (it was the last font I used
a website on the internet, makes it okay
in InDesign), it reminds me of something,
to be very opinionated on the subject of
is beautiful and special, it makes sense
what typeface a designer should use. The
and I had no reason not to use it . Avenir
design observer website is clearly a web-
looks good in headlines and body text.
site for designers only. The advantage
Avenir can be ugly if it is not carefully set.
to this is that people can read and agree
It was designed by Adrian Frutiger, a man
with or refute his article; both of which
known for smart, elegant type design.
they do. This a blog post; one of many. It’s
Avenir means “future” in French, and sty-
okay to agree with or refute a blogger’s
listically embodies the spirit of the 20th
point of view; especially on this blog. This
century and beyond.
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Posted 03.02.08
Avenir type sample
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http://justcreativedesign.com/2008/03/02/30-best-font-downloads-for-designers/
Posted 05.12.07
Michael Bierut
Thirteen Ways of Looking at a Typeface
For the first 10 years of my career, I worked
prepared me for this kind of moral clarity. I
for Massimo Vignelli, a designer who is
accepted this technique gratefully.
legendary for using a very limited number
of typefaces. Between 1980 and 1990,
Suddenly I could use any typeface I wanted,
most of my projects in his studio were set
and I went nuts. On one of my first projects,
in five fonts: Helvetica (naturally), Futura,
I used 37 different fonts on 16 pages. My
Garamond No. 3, Century Expanded, and,
wife, who as a child, attended Catholic
of course, Bodoni.
school herself, found this all too familiar.
She remembered classmates who switched
For Massimo, this was an ideological
Then, after a decade, I left my first job.
choice, an ethical imperative. “In the new
to public school after eight years under
computer age, the proliferation of typefaces
the nuns: freed at last from demure plaid
and type manipulations represents a new
uniforms, they wore theshortest skirts they
level of visual pollution threatening our
could find. “Jesus,” she said, looking at
culture. Out of thousands of typefaces, all
one of my multiple font demolition derbies.
we need are a few basic ones, and trash
“You’ve become a real slut, haven’t you?”
the rest.” For me, it became a time-saving
device. Why spend hours choosing between
I became typographically promiscuous. I
Bembo, Sabon and Garamond No. 3 every
have since, I think, learned to modulate my
time you needed a Venetian Roman? For
behavior—like any substance abuser,
most people, like my mom, for instance,
these were distinctions without differences.
costly, and ultimately counterproductive—
Why not just commit to Garamond No. 3
but I’ve never gone back to five-typeface
and never think about typefaces again? My
sobriety. Those thousands of typefaces are
Catholic school education must have well
still out there, but my recovery has required
10
It was true. Liberated from monogamy,
I learned binges are timeconsuming,
http://observatory.designobserver.com/entry.html?entry=5497
that I become more discriminating and come
is positively irresistible. I haven’t had that
up with some answers to this seemingly
luck yet, but still try to find the same kind
simple question: why choose one particular
of evocative alignment. For instance, I was
typeface? Here are thirteen reasons.
never a fan of Aldo Novarese’s Eurostyle,
I
Because it works
Some typefaces are perfect for certain things. I’ve specified exotic fonts for identity programs that work beautifully in headlines
but I came to love it while working on a monograph on Eero Saarinen: they both share an expressiveness peculiar to the postwar optimism of the 1950s.
and even in text, but sooner or later you
III
have to set that really tiny type at the very
Once I saw a project in a student portfolio
Because you like its name
bottom of the business reply card. This is
that undertook the dubious challenge of
what Franklin Gothic is for. Careful, though:
redesigning the Tiffany’s identity. I particu-
some typefaces work too well. Frutiger has
larly disliked the font that was used, and
been used so much for signage programs
I politely asked what it was. “Oh,” came
in hospitals and airports that seeing it now
the enthusiastic response, “that’s the best
makes me feel as though I am about to get
part! It’s called Tiffany!” On the other hand,
diagnosed with a brain tumor or miss the
Bruce Mau designed Spectacle, the book
7:00 to O’Hare.
he created with David Rockwell, using the
II
Because you like its history
typeface Rockwell. I thought this was funny.
I have heard of several projects where the
IV Because of who designed it
designer found a font that was created
Once I was working on a project where the
the same year that the client’s organization
client group included very strong-minded
was founded. This must give the recom-
architects. I picked Cheltenham, an idio-
mendation an aura of manifest destiny that
syncratic typeface not only well-suited to
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the project’s requirements, but was one
VI Because they made you
of the few I know that was designed by
And sometimes it’s something you’ve never
an architect, Bertram Goodhue. Recently, I
used before, for good reason. “We use
designed a publications program for a
ITC Eras on all our materials.” “Can I make
girls’ school. I used a typeface that was
an alternate suggestion?” “No.” This is
designed by a woman and named after
when blind embossing (blind embossing
another, Zuzana Licko’s Mrs. Eaves. In both
is a registered or ink emboss where the
cases, my clients knew that the public
embossed image is printed exactly over a
would be completely unaware of the story
printed image) comes in handy.
behind the font selection, but took some comfort in it nonetheless. I did too. V
Because it was there
Sometimes a typeface is already living on the
VII Because it reminds you of something Whenever I want to make words look straightforward, conversational, and smart, I frequently consider Futura, upper and
premises when you show up; it just seems
lower case. Why? Not because Paul Renner
mean to evict it. “We use Baskerville and
was straightforward, conversational and
Univers 65 on all our materials, but feel free
smart, although he might have been. No,
to make an alternate suggestion.” Really?
it’s because 45 years ago, Helmut Krone
Why bother? It’s like one of those shows
chose to use Futura in Doyle Dane Bernbach’s
where the amateur chef is given a turnip, a
advertising for Volkswagen, and they still
bag of flour, a leg of lamb and some maple
use it today. One warning, however: what
syrup and told to make a dish out of it. Some-
reminds you of something may remind
times it’s something you’ve never used
someone else of something else that is
before, which makes it even more fun.
entirely different or unappealing.
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VIII Because it’s beautiful
I was showing him the fonts I was propos-
Cyrus Highsmith’s typeface, Novia is now
ing for his monograph. Anything but a
commercially available. He originally
boring typeface, he felt, got in the way of
designed it for the headlines in Martha
the ideas. We settled on Trade Gothic.
Stewart Weddings. Resistance is futile, at least mine is.
XI Because it’s special In design as in fashion, nothing can beat
IX Because it’s ugly
bespoke tailoring. For this assignment,
About 10 years ago, I was asked to redesign
I commissioned some custom typefaces
New York Magazine’s logo. Milton Glaser
from notably excellent typographers:
based the logo on Bookman Swash Italic, a
Jonathan Hoefler and Tobias Frere-Jones
typeface that I found unimaginably dated
and Joe Finocchiaro. We are currently
and ugly. But Glaser’s logo had replaced an
working with Matthew Carter and Chester.
earlier one by Peter Palazzo that was based
It is the ultimate indulgence, but is well
on Caslon Italic. I proposed a return to Caslon,
worth the extra effort. Is this proliferation?
and distinctly remember saying, “Bookman
I say bring it on.
Swash Italic is always going to look ugly.” The other day, I saw something in the office that caught my eye. It was set in Bookman Swash Italic; looked great. Ugly, but great. X
Because it’s boring
XII Because you believe in it Sometimes I think that Massimo Vignelli may be using too many typefaces, not too few. A true fundamentalist requires a monotheistic worldview: one world, one
Tibor Kalman was fascinated with boring
typeface. The designers at Experimental
typefaces. “No, this one is too clever, this
Jetset have made the case for Helvetica.
one is too interesting,” he kept saying while
My partner Abbott Miller had a period
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of life he calls “The Scala Years” when he used that typeface almost exclusively. When the time is right, I might make a similar commitment myself. XIII Because you can’t not Princeton Architectural Press is about to publish a collection of essays I’ve written, many of these essays first appeared here on Design Observer. I wanted the book to feel like a real book for readers—it has no pictures—so I asked Abbott to design it. He suggested that we set each one of the 79 pieces in a different related typeface. I loved this idea, but wasn’t sure how far he’d want to go with it. “What about the one called ‘I Hate ITC Garamond?’ Will it set it in ITC Garamond?” He looked at me as if I was crazy. “Of course,” he said. The book is beautiful, by the way, and not the least bit slutty. Design Observer © 2006-2009 Observer Omnimedia LLC
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Posted 10.28.03
Michael Bierut
Biography
Michael Bierut, partner at Pentagram NYC,
Fame in 2003. Michael is a Senior Critic
studied design at the Univ. of Cincinnati’s
in Graphic Design at the Yale School of
College of Design, Architecture, Art & Plan
Art. Michael Beirut writes frequently
ning. Prior to joining Pentagram in 1990
about design; he is the co-editor of the
in the firm’s New York office, Bierut worked
4 volume series Looking Closer: Critical
ten years at Vignelli Associates, in various
Writings on Graphic that was published by
positions, ultimately as their vice-president
Allworth Press. In 1998 he co-edited and
of graphic design. His past and president
designed a monograph; Tibor Kalman:
clients at Pentagram include Motorola,
Perverse Optimist. His personal commen-
Mohawk Paper Mills, Princeton University,
taries about graphic design in everyday life
Harley-Davidson, The Minnesota Children’s
can be heard nationally on the Public Radio
Museum, Fashion Designers of America,
International program “Studio 360.”
The Walt Disney Company, the Brooklyn Academy of Music., and the NY Jets.
MIchael Bierut’s work is exhibited in
Contact Information: bierut [at] pentagram.com www.pentagram.com
the permanent collections of the MoMA and the Met in New York; and in Montreal at the Musee des Arts Decoratifs. Bierut served in the NY Chapter of the American Institute of Graphic Arts (AIGA) from 1988 to 1990 and is president emeritus of AIGA National. He was elected to the Alliance Graphique Internationale in 1989, and was elected to the Art Directors Club Hall of 15
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Designed by Lynn Hasday Avenir light, light oblique, black 8/13 (body), 7/8 (captions) Baskerville Regular 6 (runners) Type 2 Fall 2009