U&lc - redesign magazine by martindipietro

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Message from the editor It’s true that words are what make thoughts tangible, but for sure we have to admit that writing is what has the privilege of making words travel in time and space. The way we write what we think down can evoke many different meanings, sometimes also very distant from the meaning itself. This is why U&lc decided to open again its doors after 20 years. In times like the one we live in - in which digital escapes from human control, up to involving our senses as touch, smell and sound - paper has the duty (more than the right) to recover these values, to allow the reader to use them in a new way, which does not want to deny access to the potential of technology, but to exploit it usefully and leave space for the materiality from which men cannot ignore and no longer want to. In fields such as typography and printing, this concept finds an even more coherent and rooted sense. Upper and lower case will take you, issue after issue, to explore the parts that make up a character, continuing to the degrees of construction of the same. For this reason, the first issue of this new edition wants to focus on the body, understood as a body of character but also in all its meanings that in their own way, always referring to typography. In 1973, ITC introduced the first issue of “U&lc the International Journal of Typographics”, designed by Herb Lubalin and distributed worldwide. Had he still been alive, this year Lubalin would have celebrated his 100 birthday. It makes sense for Issue one of the new U&lc to be dedicated to the one who brought the magazine to life in the first place and guided it for 11 years. Even more if we think about how important Lubalin’s work has been (and still is) in the fields of typography and graphic design in general. U&lc was extremely groundbreaking from a technical and aesthetic point of view. It spanned a unique era in the development of typography and its pages were a platform for Herb’s revolutionary, inspirational typographic style. That’s why e decided to commemorate him in a Special section, called 100 years of Herb Lubalin.

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8 What’s Your Type? Written by Tim Brown

10 It is About Legibility Written by Allan Haley

13 Weight and Proportion Written by Allan Haley

16 Futurism. Marinetti and Italian Futurist Typography Written by David Cundy

22 Instagram, Inking, Impact Written by Luc Benyon

30 Up Close and Tight Written by Laura Forde

36 Let’s Talk Type

From http://lubalin100.com

38 Ten (or More) Things You Didn’t Know About Herb Lubalin Written by Adrian Shaughnessy

44 Skin Deep. Typography and Tattoos Written by Emily Gosling

52 How Brands Communicate? Written by Sarah Hyndman

58 Wine Not?

Written by Miriam Harris

64 Gallery of Specimen By Monotype

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IFYTIF FY IFYTIF YTIFY FYTIFY YTIFY For Your Typographic Information

Body text refers to the majority of text in a composition. Its job is to be steady so that other things – like wayfinding signals and eye-catching headings – can stand out. Body text is most successful when it is unobtrusive, yet its tone can inspire the expressive qualities of other elements and the composition as a whole.

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What’s Your Type? Written by Tim Brown

When we choose typefaces for body text, we consider many things. Does the family have enough weights and styles for the text we’re typesetting? Is the typeface prepared for the medium in which the text will live? Is the typeface’s history and culture harmonious with the subject matter of the text? Will readers find the typeface agreeable for the kind of reading the text invites? All of those considerations help us decide on typefaces that are appropriate for a given project. Identifying good body text typefaces means looking for three things: sturdy shapes, even color, and an active texture.

Typefaces made for body text use are designed to be easily and comfortably read at small sizes, so their glyph shapes are intentionally subtle and sturdy. Look for typefaces with high x-heights and few frills. Distinctive glyphs are distracting, and delicate shapes can be lost at small sizes due to the coarseness of rendering environments. Small x-heights are a problem for body text, because they draw too much attention to capitals and extenders. Body text typefaces are designed for evenness of color — meaning typographic color, the overall gray value of the text. Sometimes it helps to squint at a text block to zero in on this gray value. Whether the color is lighter or darker doesn’t matter as long as it feels consistent and pleasant. Avoid typefaces that show patches of dense blackness or whiteness, which are often the result of specific character shapes and combinations. Texture is the apparent visual activity of a text block, mostly the result of the typeface’s contrast and the distribution of white space in and around glyphs. Good body text typefaces have an active texture that is not too lively and not too dull. Texture is also influenced by

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aspects of the typesetting, particularly line height and word spacing: achieving an active texture is more about finding a balance among many aspects of the type and text block. Reevaluate your decisions about shape sturdiness, color evenness, and texture activity in every context you care about, wherever your typeset text may live. Sturdy shapes that look fine at low resolution may look clunky at high resolution. Color and texture that seem even and active on a Mac may not feel the same on an Android tablet. Choosing typefaces for body text doesn’t necessarily mean deciding on a single typeface. The same typeface may not work in all contexts you care about and you may need to choose several typefaces for different contexts.

In the beginning when God created the heavens and the earth, the earth was a formless void and darkness covered the face of the deep, while a wind from God swept over the face of the waters. Then God said, “Let there be light”; and there was light. And God saw that the light was good; and God separated the light from the darkness. God called the light Day, and the darkness he called Night. And there was evening and there was morning, the first day. And God said, “Let there be a dome in the midst of the waters, and let it separate the waters from the waters.” So God made the dome and separated the waters that were under the dome from the waters that were above the dome. And it was so. God called the dome Sky. And there was evening and there was morning, the second day. And God said, “Let the waters under the sky be gathered together into one place, and let the dry land appear.” And it was so. God called the dry land Earth, and the waters that were gathered together he called Seas. And God saw that it was good. Then God said, “Let the earth put forth vegetation: plants yielding seed, and fruit trees of every kind on earth that bear fruit with the seed in it.” And it was so. The earth brought forth vegetation: plants yielding seed of every kind, and trees of every kind bearing fruit with the seed in it. And God saw that it was good. And there was evening and there was morning, the third day. And God said, “Let there be lights in the dome of the sky to separate the day from the night; and let them be for signs and for seasons and for days and years, and let them be lights in the dome of the sky to give light upon the earth.” And it was so. God made the two great lights - the greater light to rule the day and the lesser light to rule the night - and the stars. God set them in the dome of the sky to give light upon the earth, to rule over the day and over the night, and to separate the light from the darkness. And God saw that it was good. And there was evening and there was morning, the fourth day. And God said, “Let the waters bring forth swarms of living creatures, and let birds fly above the earth across the dome of the sky.” So God created the great sea monsters and every living creature that moves, of every kind, with which the waters swarm, and every winged bird of every kind. And God saw that it was good. God blessed them, saying, “Be fruitful and multiply and fill the waters in the seas, and let birds multiply on the earth.” And there was evening and there was morning, the fifth day. And God said, “Let the earth bring forth living creatures of every kind: cattle and creeping things and wild animals of the earth of every kind.” And it was so. God made the wild animals of the earth of every kind, and the cattle of every kind, and everything that creeps upon the ground of every kind. And God saw that it was good. Then God said, “Let us make humankind in our image, according to our likeness; and let them have dominion over the fish of the sea, and over the birds of the air, and over the cattle, and over all the wild animals of the earth, and over every creeping thing that creeps upon the earth.” So God created humankind in his image, in the image of God he created them; male and female he created them. God blessed them, and God said to them, “Be fruitful and multiply, and fill the earth and subdue it; and have dominion over the fish of the sea and over the birds of the air and over

every living thing that moves upon the earth.” God said, “See, I have given you every plant yielding seed that is upon the face of all the earth, and every tree with seed in its fruit; you shall have them for food. And to every beast of the earth, and to every bird of the air, and to everything that creeps on the earth, everything that has the breath of life, I have given every green plant for food.” And it was so. God saw everything that he had made, and indeed, it was very good. And there was evening and there was morning, the sixth day. Thus the heavens and the earth were finished, and all the host of them. And on the seventh day God ended his work which he had made; and he rested on the seventh day from all his work which he had made. And God blessed the seventh day, and sanctified it: because that in it he had rested from all his work which God created and made.These are the generations of the heavens and of the earth when they were created, in the day that the Lord God made the earth and the heavens, and every plant of the field before it was in the earth, and every herb of the field before it grew: for the Lord God had not caused it to rain upon the earth, and there was not a man to till the ground. But there went up a mist from the earth, and watered the whole face of the ground. And the Lord God formed man of the dust of the ground, and breathed into his nostrils the breath of life; and man became a living soul. And the Lord God planted a garden eastward in Eden; and there he put the man whom he had formed. And out of the ground made the Lord God to grow every tree that is pleasant to the sight, and good for food; the tree of life also in the midst of the garden, and the tree of knowledge of good and evil.And a river went out of Eden to water the garden; and from thence it was parted, and became into four heads. The name of the first is Pison: that is it which compasseth the whole land of Havilah, where there is gold; and the gold of that land is good: there is bdellium and the onyx stone. And the name of the second river is Gihon: the same is it that compasseth the whole land of Ethiopia. And the name of the third river is Hiddekel: that is it which goeth toward the east of Assyria. And the fourth river is Euphrates. And the Lord God took the man, and put him into the garden of Eden to dress it and to keep it. And the Lord God commanded the man, saying, Of every tree of the garden thou mayest freely eat: But of the tree of the knowledge of good and evil, thou shalt not eat of it: for in the day that thou eatest thereof thou shalt surely die. And the Lord God said, It is not good that the man should be alone; I will make him an help meet for him. And out of the ground the Lord God formed every beast of the field, and every fowl of the air; and brought them unto Adam to see what he would call them: and whatsoever Adam called every living creature, that was the name thereof. And Adam gave names to all cattle, and to the fowl of the air, and to every beast of the field; but for Adam there was not found an help meet for him. And the Lord God caused a deep sleep to fall upon Adam, and he slept: and he took one of his ribs, and closed up the flesh instead thereof; And the rib, which the Lord God had taken from man, made he a woman, and brought her unto the man. And Adam said, This is now bone of my bones, and flesh of my flesh: she shall be called Woman, because she was taken out of Man. Therefore shall a man leave his father and his mother, and shall cleave unto his wife: and they shall be one flesh. And they were both naked, the man and his wife, and were not ashamed. Now the serpent was more crafty than any of the wild animals the Lord God had made. He said to the woman, “Did God really say, ‘You must not eat from any tree in the garden’?” The woman said to the serpent, “We may eat fruit from the trees in the garden, 3 but God did say, ‘You must not eat fruit from the tree that is in the middle of the garden, and you must not touch it, or you will die.” “You will not certainly die,” the serpent said to the woman. “For God knows that when you eat from it your

It is About Legibility Written by Allan Haley

So what makes a typeface legible? A long-standing typographic maxim is that the most legible typefaces are “transparent” to the reader–that is, they don’t call undue attention to themselves. Additionally, the most legible typefaces contain big features and have restrained design features. While this may seem like a typographic oxymoron, it’s not. “Big features” refers to things such as large, open counters, ample lowercase xheights, and character shapes that are obvious and easy to recognize. The most legible typefaces are also restrained. They are not excessively light or bold, weight changes within character strokes are subtle, and serifs, if the face has them, do not call attention to themselves. Counters, the white space within letters such as ‘o,’ ‘e,’ ‘c,’, help to define a character. Typographers believe that large counters are an aid to character recognition. A byproduct of open counters is usually a large lowercase x-height. For the x-height is not excessively large, this can also improve legibility in a typeface. Because over 95% of the letters we read are lowercase, larger letter proportions usually result in a more legible typeface. While virtually any serif typeface can benefit from large open counters, “Clarendons” like Nimrod or Scherzo and contemporary interpretations of old style designs, such as Monotype Bembo and ITC Weidemann, tend to come by this trait most naturally. Individual letter shapes can also affect typeface legibility. For example: the two-story ‘a’ such as the one found in Stellar or Exlibris is much more legible than the single story ‘a’ found in Futura. The lowercase ‘g’ based on Roman letter shapes is more legible then the simple ‘g’ found in Helvetica. In Old Style typefaces like Monotype Plantin, Galena and ITC Berkeley Oldstyle, individual characters have more personality than

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Typographic clarity comes in two flavors: legibility and readability. Legibility is a function of typeface design. It’s an informal measure of how easy it is to distinguish one letter from another in a particular typeface. Readability, on the other hand, dependes upon how the typeface is used. Readability is about typography. It is a gauge of how easily words, phrases and blocks of copy can be read. those in regular “legibility” faces with virtually no loss in character legibility. While the argument continues to rage about whether sans serifs are easier to read than serif fonts in text copy, sans serif typefaces, have been proven to be slightly more legible than their serifed cousins. Another potential drawback of serif typefaces is that the legibility of individual letters suffers when serifs have exaggerated shapes. Long serifs, those that are unusually heavy and those with unusual shapes all detract from legibility. Ideal serifs are somewhat short and slightly bracketed. They are also heavy enough to be obvious yet not conspicuous. Typefaces such as Monotype Sabon and ITC Stone have great serifs. Lighter typefaces are usually more legible than heavier weights of type. They allow for full, open counters and unmodified character shapes. Studies have shown that the best character stroke thickness for text typefaces is about 18% of the x-height. Typefaces with weights similar to that of Albertina Regular,

ITC Officina Sans Book and Cartier Book Roman fall into this general category. The metaphor of transparent type was coined by Beatrice Warde, Monotype Imaging’s famous marketing manager of the 1930s and 40s. She once wrote in an article that good type is like “a crystal goblet” which allows content to be more important than the container. Warde contended that the best types do not get in the way of the communication process: these faces are virtually invisible and allow words to make the statement–not the type. While this is sage advice, if this principle were followed rigidly, graphic communication would be about as exciting as a head cold. This does not mean that legible typefaces can’t be distinctive in design, or that we should be using Ionic No. 5 for all typography. Then there are times when you have a lot to say–and not much room in which to say it. In instances like these, faces with condensed proportions are the best choice. Condensed typefaces of light to medium weight also work well in cramped typographic quarters because their counters are not prone to filling in. Sans serif faces are almost always the safest choice because their individual character shapes tend to be more legible. A serif typeface such as ITC Garamond condensed or Galena Condensed can be effective as small as 8 point or 9 point, but when smaller sizes are required, a sans serif like Generica Condensed or Abadi Condensed are better options.

MT Bembo regular Ascender

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ITC Stone medium Ascender

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It Is About Legibility

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Weight and Proportion Written by Allan Haley

Weight, proportion are two main characteristics that distinguish typefaces from one another. Stroke widths range from very light to extremely heavy; letter shapes range from very condensed to exceptionally wide.

Many attempts have been made to standardize weight and proportion terminology for typeface designs. However, none has gained universal acceptance. Commonly used names progress as follow: thin, light, book (as the name implies, a good weight for setting continuous text), medium, demi bold (sometimes just “demi”), bold, extra bold,black and ultra. Other descriptive names run the weight gamut from hairline and slim, to fat, elephant and massive. Typeface designer, Adrian Frutiger proposed a solution to resolve the confusion over weight names. In the mid-1950s, he developed a numerical system to distinguish typeface weights and proportions. Despite its logic, Frutiger’s numerical system has not caught on. Even the Neue Helvetica typeface family, which adheres to Frutiger’s system, uses both the numeral value and the naming convention: for example, Neue Helvetica 56 Italic and Neue Helvetica 55 Roman. With the advent of digital fonts and the proliferation of new typeface designs, the concept of a universal naming system for typeface weights has become an impossibility. Proportion refers to the width of a character in relation to its height. Generally, the narrowest proportion is described as ultra compressed. Descriptive width names then usually progress to extra compressed,

compressed, condensed, regular and extended. While a typeface may offer several degrees of typeface compression, it is rare to have more than one width of expansion. Also bold typefaces concerns with weight. It is interesting to know that old typefaces, as companions to regular text weights, did not become fashionable until the mid-19th century. Although it is hard to imagine today, the original fonts of Baskerville, Caslon, Garamond and Bodoni did not include bold weights. Bold type grew out of the Industrial Revolution and the birth of advertising. In fact, the first popular bold typefaces were display designs intended to be used at large sizes to grab the reader’s attention. It was only later that bold designs were regularly added to typefaces used to set text copy. Bold typefaces can go by many names: demi bold (sometimes just “demi”), bold, extra bold, and black and ultra. As the names imply, their stroke weights are incremental degrees heavier than the basic roman or medium weight of a typeface. Their primary use in text copy is to provide emphasis or establish a typographic hierarchy that conveys relative ranking of information. In this context, bold weights clarify content. Bold weights of type can easily establish priority. Typographic hierarchy is about creating different levels of importance through typeface choice and text

arrangement. Used sparingly, different typeface weights (and proportions) can guide the reader through long or complicated documents. Think of the various typeface weights as graphic road signs: a few, well-placed, will help the reader navigate the content. Too many will distract and confuse. Headings are often set in bold type, as are subheads and page numbers. In addition, if used sparingly, bold type on a page adds a touch of graphic diversity to otherwise monotone pages of text copy. Some typeface families have relatively subtle gradations in change from one weight to another. In these designs, a jump of two weights may be advisable to create an obvious contrast. If the font weights are not linked, or if there is no bold font, a digital embolding will result. This looks more like type dipped in chocolate than like a professionally drawn variation on the basic design.

Weight And Proportion

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ARTART A RT ARTART RTARTA ARTART RTARTA What would you do during an Epiphany if you had spent your entire life in learning something? Would you start breaking everything to set you free only because you are an expert, or would you use this rules to create something which is the most possible similar to perfection? Freedom of creativity or meticulous craft? Letâ&#x20AC;&#x2122;s the challenge begin, brum brum!

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FU Ri U

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Writen by David Cundy

Marinetti and Italian Futurist Typography

When the origins of twentieth-century typography are sought, Filippo Tommaso Marinetti, the founder of the futurist movement in Italy, emerges as one of the primary forces in the development of a modern aesthetic. His technical Manifesto Futurist Literature of 11 may 1912 outlined a literary formula which precipitated a revolution in graphic presentation and visual perception. Marinetti initiated his radical aesthetic innovations in an atmosphere of technological revolution. Until the end of the nineteenth century, the physical generation of typography, effected by letterpress, had remained relatively static for 450 years.

However, the last decades of the century saw a shift from typesetting done by hand to typesetting done by machine. In the United States, Mergenthaler invented the Linotype machine (1884-86), which set lines of type, and in Great Britain, Tolbert Lanston invented the Monotypecaster (1889), with set characters singly. The Monotypecaster was the essence of the principles that the Futurists workshiped-technology, speed, efficiency, and noise- and, as such, was used as a metaphor in Futurist writings. In Balla’s performance Macchina Tipografia (1914), for example, the action of the printing press was pantomimed by actors moving synchronously; the set consisted of large letters spelling “Tipografia”. Giovanni Papini in his “Dichiarazione al tipografo” of 1 May 1914, a paean to the technician go the printed word, declaimed, “I love the Monotype… with its complicated precision of a mechanical beast.” But despite its profound effect on the availability and cost of printed matter at the beginning of the 20th century, it was, ironically, superfluous to the Marinetti’s particular purposes. The formal roots of Marinetti’s typographic doctrines are traceable to Stéphane Mallarmé, whose Un Coup de dis of 1897 has been characterized as the beginning of the model typography. In it, Mallarmé uses type to create figurative and emotive patterns complementary to the content of his poetry. Apollinaire, influenced by both Mallarmè and Marinetti, created what he called Ideograms (in 1914) and Calligrams (in 1918), figurative poems in which typeset words imitated

“We use in an average page three or four different colors of ink and also twenty diverse fonts: for example, italic for a series of similar and rapid sensations, boldface for violent onomatopoeia, etc.” Tommaso Marinetti

the shapes, for example, of rainfall or a heart. This merely amounted to a refinement od Mallarmé’s earlier experiments. The utilization of typography as a visual element in its own right was first realized by Marinetti, whose Parole in libertà, or “words in freedom”, reflected a reaction to both form and content in Symbolist poetry. One of Marinetti’s basic reductionistic futurist tenets - the deemotionalization of human experience and its relegation to a continuum of sensations- underlay the techniques he proposed to use in achieving a Futurist literary expression. Marinetti described these techniques, he declared in the Technical Manifesto that “nouns would be scattered at random, infinitives with their greater elasticity would replace the pedantic old indicative.”, he further described his typographic revolution; “The typographic revolution was initiated by me and directed especially against the so-called typographic harmony of the page… We use in an average page three or four different colors of ink and also twenty diverse fonts: for example, italic for a series of similar and rapid sensations, boldface for violent onomatopoeia, etc. With this typographic revolution and a multicolored variety of fonts, I am able to augment the expressive force of words.” It is perhaps typical of Marinetti’s braggadocio that there are no examples of Futurist poetry printed in three or four colors or with twenty fonts. Nevertheless, “multicolored variety of fonts” admirably denotes a quality typographers ascribe to different typestyles: they use the word color in the sense of tonality, intensity

Futurism. Marinetti and Italian Futurist Typography

Zang Tumb Tumb is a text on a mission: to carry out a wholesale demolition of existing literary culture in the act of giving birth to a poetics consonant with the era of industry, wireless telegraphic networks, and mechanized mass warfare.” Jeffrey Schnapp

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and weight. Thus Marinetti’s comment reveals a keen perception of their values if not their actual practice. Marinetti proposed also the abandonment of traditional syntax, the elimination of adjectives and adverbs, the employment of mathematical and musical symbols to supplant standard punctuation, and the freer use of onomatopoeia (“which serves to vivify lyrical content with the bride and brutal elements of the reality”). And he advocate a free, expressive ortography-freely remodelling words to evoke appropriate sensations. In his “Wireless Imagination and Words in Freedom,” he mentions also “the typographically pictorial possibilities of the page, which succinctly describes the effect of parole in libertà as

realized in print. It was this aspect of Futurist literature which most profoundly influenced subsequent visual/verbal communication”. In using the phrase “typographically pictorial representation, but rather a dynamic, typographic composition of the material. Although he counseled against representation and decorative effects (“One must… avoid any pictorial preoccupation, taking no satisfaction in a play of lines or in curious typographic disproportions”), the tavole parolibere, or “free word tableaux”, originally found in L’italia futurista, used type and pictures in a figurative style reminiscent of Mallarmé. Such effects are very much in evidence in Marinetti’s own work, including “Saint Unique Tortured by

Saints velocity and Simultaneity”, ”Con Boccioni a dossocasina,” and the military saloon in Zang Tumb Tumb. A proofreader’s copy of La Conquete de étoiles, in which Marinetti specified size and typeface alterations, provides evidence of his understanding of printing procedures, Soffici, in his memoirs, described his close working relationship with Vallecchi, Lacerba’s printer, and Papini’s conciliatory “Dichiarazione al tipografo” in Lacerba reinforces this implied rapport. It is noteworthy that Marinetti’s innovations did not make use of the advances of modern printing technology. The most successful Parole in Libertà employed obsolescent wood and foundry types in arrangements realizable only by multiple handset pressings; they required the use and moulds to hold the type in place. The composing time for such experiments must have been phenomenal, as different sorts in different sizes were intermingled to evoke the effects desired. The reader may experience the concise, meteoric efficiency of Marinetti’s settings, but his printer never did. The first example of Parole in Libertà was published as a supplement to the Technical Manifesto of Futuris Literature in 1912 and was entitled “Battle of Weight + Smell”. In this poem Marinetti used mathematical notation to evoke the atmosphere of battlefield. Zang Tumb Tumb, also written in 1912, was cited by Marinetti for his use of onomatopoeia to complement the content. During 1913-1914, following Marinetti’s “After Free Verse- Words in Freedom”, Lacerba regularly printed parole in libertà, including examples by Boccioni, Cangiullo, Carrà, Jannelli, Marinetti, Soffici and others. This activity was suspended on 14 august 1914 with Italy’s entry into Word War I. Shortly thereafter, La Balza, based in Ragusa, continued to develop the prototype created in Lacerba. Janelli’s “Verginità” of may 1915 is a stunning and whimsical example of calligraphic (cacographic) words in freedom. Janelli’s work is pictorial, with the letters arranged to create representational images. This is also true of Cangiullo’s illustrations in “alfabeto a sorpresa” of 1916, cited as late as 1939-in the march-may issue of Campo Grafico. as a “significant example of Cangiullo’s desire to evoke another sensibility from a graphic form”. There works transcend the decorative level achieved in most Parole in Libertà to embody greater meaning. Marinetti referred to them, and to the military saloon that he himself has typographically design for Zang Tumb Tumb, in “Geometric

and mechanical Splendor and the Numerical Sensibility” (1914): “The words in freedom, in this continuous effort to express with the greatest force and profundity, naturally transform themselves into self-illustrations, by means of free, expressive orthography and typography, the synoptic tables of lyric values and designed analogies”. There works introduced a revolutionary element into literature-mood produced by means of the medium, the type itself. We encounter further examples go this phenomenon in 1917, in L’Italia Futurista. A Tavola Parola libera called “Canzonetta” depicts a singer and his companion standing on wharf. The words of the musician’s song, “Bionda” swirl above his head.

On the left, “Zang Tumb Tumb” Filippo Tommaso Marinetti, 1914. On the right, “Piedigrotta”, Francesco Cangiullo, 1916

Futurism. Marinetti and Italian Futurist Typography

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In the foreground each wave is represented by a printer’s bracket; the boat in the water is a large, bloke B, which, coupled with the article “l” and “onda” repeat the song title. Thus Bionda is wittily punned with the bracket/waves (her curves perhaps). Lucio Venna’s “Synthesis of the City, published a few months later in the same periodical, elegantly evokes the Florentine cityscape (including the arches of the Ponte Vecchio) through typographic devices. As impressive as the creations of his disciples were, no one outshone Marinetti in parole on libertà. His “Tumultuous Political Assembly” and the well-known “letters from the front” remain the richest examples of the genre. “Tumultuous Political Assembly”, formed entirely of graphic elements-with a skeleton text of letters, numbers, and dateshas been described as a “magnificent example of representative power of graphic symbols”, “letter from the front employed many of the elements mentioned by Marinetti in his “Wireless Imagination and Words in Freedom” to evoke the chaos of war: machine guns, explosions, and camping in the open. After the war, Futurism became the province of another generation. As a result, parole in liberty and tavole parolibere were no longer innovative. It was the Dada, Constructivist, De Stijl and Bauhaus artists who carried on the graphic revolution. All were indebted to Marinetti for his shocking insistence on the culture of mass technology and for the graphic concepts he developed to emphasize the tenets of his philosophy: re-evaluation of punctuation, asymmetry, dynamic composition of visual elements, an the typographically pictorial possibilities of the page. It was through his willingness to challenge graphic conventions in parole in libertà and tavole parolibere that modern graphic concepts first took shape.

Words and Freedom Filippo Tommaso Marinetti, 1914

Futurism. Marinetti and Italian Futurist Typography

INSTAGRAM INKING AND IMPACT Written by Luc Benyon

We catch up with artist Gemma O’Brien, whose social media success has been a chance for her to explore the potential for the performative nature of type. This is the level of fame that Australian artist Gemma O’Brien now finds herself dealing with. It’s emblematic of the way her work lives on beyond its creation – on social media and in branded content. She’s paradigmatic of artists who are as much about performance as the work they’re creating. But it wasn’t always going to be the case. After dodging a law degree, she came to design fairly late.

Gemma O’Brien for Qantas, The Jacky Winter Group, 2014

Instagram, Inking and Impact

“I love this history of typography, but how can it be accessible and contemporary?” Gemma O’Brien

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I found all the rules quite boring,” she explains. A course with a letterpress artist was to be her epiphany moment. “He showed me that fonts were physical. They were in a drawer you could pull out, and even spaces were a piece of metal. Suddenly everything made sense to me.” During her studies she stumbled across the work of handlettering supremo Jessica Hische. “I was crippled,” she admits. “It was the exact answer to what I was thinking about in my design degree, which was: ‘I love this history of typography, but how can it be accessible and contemporary?’ Jessica had done that, and created a hugely inspirational body of work.”

Like many illustrators, she’s found hat building a reputation for a specific craft and style has helped her gain recognition. In the last three years she’s received increasing volumes of commissions for large-scale, handlettered and illustrated murals, and it’s these with which she is now synonymous. She’s pragmatic as to why that is, saying: “I don’t know if it’s a general trend or because I’ve shared more of that stuff on my Instagram...” Social media has certainly driven the commissions from brands. Often they request that she posts live Instagram stories, time-lapses or behind-thescenes images. Murals encourage passersby and onlookers

to share the artwork on their own social media, to the delight of sponsors. A somewhat reluctant advocate of social media, O’Brien sees the benefit of it, but is not likely to spend all day responding to her fans. Likewise, she shies away from clients who just want to tap into her huge social following. “I want to keep it as authentic and true to what I’d normally do anyway.” O’Brien is convinced that the digital world increases our fascination with the physical. “It’s the awe of human performance... the elements, the materials, and the fact that something could go wrong. There’s a high level of anticipation, it’s almost like theatre or live sports.” As to what makes lettering

of particular interest: “With letters there’s that initial need to want to make sense of it. Even if it’s a part of a letter, you’re already trying to identify what it’s saying. There’s that ‘finish the sentence’ thing.” Many onlookers fail to realize the work that has gone on before the live component. A long process consisting of a proposal and approval process with a client precedes the actual painting. The result means that what you see is a lot more predictable than you might think. “I’ve never had a spelling error,” she explains, but “in the painting process certain things can go wrong”. Naturally, outdoor works offer unforeseen circumstances.

An installation at LCAD Gallery in Laguna Beach, 2016

Instagram, Inking and Impact

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“The fewer number of words or phrases, the better potential there is for intricate illustrations, and maintaining legibility.” Gemma O’Brien

Work “Formulas” in the offfest 15th Anniversary Book made by Vasavastudio, 2015

One film for a cider brand features Gemma on a scissor lift, in the rain, painting an outdoor ad. Diplomatically, she explains: “That’s not my favorite kind of working conditions.” Quite understandably, she prefers painting indoors, and has plenty of requests from galleries and brands for indoor work. This also has the benefit of neatly avoiding comparisons to the street art scene. “I’ve done outdoor walls but I do want to separate myself from the street art space. I think there are amazing street artists who do incredible work. But I’ve always felt more comfortable in interior spaces which have the opportunity to work in large scale.” She identifies her style as fitting between art, graphic design and street art. Her work sits as part of what she calls “this explosion of amazing lettering artists all around the world”. Rather than see others as a threat, they are generously treated as a supportive community. “Because there’s a demand there can be so many voices within that [world]. People are creating things which can be considered lettering or typography and which have diverse styles and approaches within that umbrella.” O’Brien has certainly benefited from this popularity. She has recently returned from judging the ADC Awards in Bermuda and is planning her next trip to Sweden. Needless to say she enjoys these opportunities. “In Laguna Beach in California, in March last year I had a show in a gallery. It was perfect, after hours I could go for a run or a swim...”. Beyond the romantic idyll, place is a crucial part of the work she creates. Not only will she plug herself into a location-specific Spotify playlist (New York and Portland are favorites), but she’ll extensively research the location before beginning a piece. “When there’s something foreign or unknown to me it’s good to get some cultural references, perhaps flora and fauna.” But there’s also a sense that

this is a designer still learning her place in the world, and adapting too much to client demands will impact her identity. O’Brien talks passionately of building up her own body of style, technique and pattern. When it comes to discussing technique she is shy, almost apologetically talking about her passion for lower-case k’s, for example – “you have to change the angle of your hand, for some reason I feel that’s very enjoyable!” she giggles. When pushed, she’ll go into detail, explaining how she prepares for a mural. “If I’m working on something, even for a large-scale mural, the drawing will be only A2 or A3 size. Working at that scale is a good level of detail, and then once I move onto the wall it scales up.” What works best? “The fewer number of words or phrases, the better potential there is for intricate illustrations, and maintaining legibility.” Much of her work displays a breathtaking skill, which she modestly brushes off. In one example, a word disrupted impressively by a swirling whirlpool pattern is simply dismissed as a simple “process”. It’s almost as if she doesn’t know how good she is. This is a talented artist, just at the beginning of an incredible journey: one fan sent her a picture of her take on the word “ink” tattooed onto themselves and conferences fly her around the world to deliver keynotes... But she remains focused on her oeuvre. She’s excited about her new-found love of using color, and sees her next big challenge as non- Latin scripts. Performance and online content is driving O’Brien’s burgeoning popularity. But it’s down to her magnificent grip of detail, paired with an instinctive understanding of impact. It remains to be seen whether hand-lettering murals can ever achieve main stream success. But for O’Brien that’s not the point, she just wants to make great work. If she keeps doing what she’s doing, it feels like her masterpiece is yet to come.

Instagram, Inking and Impact

100 YEARS OF HERB LUBALIN Most people recognize the name Herb Lubalin in association with the typeface Avant Garde. And he was the typographer and designer behind its creation, after the success of Avant Garde Magazine and its typographic logo. But, his career spanned a much wider scope than that. One of the people behind the culture-shocking magazines Avant-Garde, Eros and Fact, he was a constant boundary breaker on both a visual and social level. Part of the founding team of the International Typeface Corporation (ITC) and the principal of Herb Lubalin, Inc it was hard to escape the reach of Herb during the 1960s and 70s.

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Lubalin’s poster showing a collage of designers in his studio, Tom Carnase, Tony DiSpigna, Roger Ferriter, Alan Peckolick and Ernie Smith.

Lubalin’s typography has been described as smashed, but nothing about his arrangement of letters on a page is violent or accidental. His methods were the stuff of legend – and none involved a sledgehammer. Nothing goes to pieces. Rarely have complex typographic arrangements been so unified. Lubalin’s marker-pen comps on tracing paper were as decisive as finished artwork. With a razor blade, he customised serifs, ascenders and descenders to his liking – some letters barely touching, others lovingly intertwined. Few designers set text in Lubalin’s ligature-rich Avant Garde with the energy and clarity its designer brought to the page.

Herb Lubalin

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The legendary Herb Lubalin brought humour, sensuality and a contemporary flourish to complex typographic arrangements.

Though his career spanned five decades, Lubalin’s best work seems to inhabit a frozen moment, wedged between the corporate orthodoxy of 1960s Modernism and the Art Deco revival of the 1970s, a period of rich typographic eclecticism that endures and appeals to young designers today. Lubalin took the best of Modernism, - its rigour, geometry and tightly constructed compositions - and added humour, sensuality and lots of flourishes. Look at his logotypes: from the chubby Spencerian hand-lettering for The Sound of Music programme to the whisper-thin justified stack for the Cooper Union. Each is poetic but rigorously balanced. Brooklyn-born Lubalin attended the Cooper Union, where he was an anomaly – left-handed, colour-blind

and a man of few words – but excelled in calligraphy. Shortly after graduating in 1939, he joined the ad agency Sudler & Hennessey (later Sudler, Hennessey & Lubalin) as an art director. In 1964, at the age of 46, he left to set up his own shop. He helped launch four magazines: Eros (1962, see Eye 25), Fact (1964) +and Avant Garde (1968). In 1970, Lubalin was one of the founders of International Typeface Corporation (ITC), in partnership with Aaron Burns and Edward Rondthaler. In 1973, he started designing ITC’s in-house magazine, U&lc (Upper and lower case). He continued to work on advertising, noting that ‘the most intriguing thing about advertising is writing the headline’. For Ebony magazine, he art-directed and co-wrote six confrontational ads in 1968, each

Herb Lubalin logo The sound of music

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with an unforgettable headline: ‘Some of our best friends are bigots’, ‘We’re dreaming of a black Christmas’ and ‘You don’t have to love us. Just give us your business’ (Don Draper couldn’t have said it better). Lubalin designed four typefaces: ITC Avant Garde Gothic (1970), an outgrowth of his logotype for the magazine; Ronda (1970); Lubalin Graph (1974), a slab serif; and ITC Serif Gothic (1974). Tied as they are to Lubalin’s work or the publications they helped define, these fonts are fiendishly hard to employ effectively. Lubalin’s four decades-long career revolutionized American advertising and editorial design and his ideas were instrumental in changing designers’ attitudes and approaches towards typography. Lubalin characterized this approach as Graphic Expressionism: “the use of typography, or letterforms, not just as a mechanical means for setting words on a page, but rather as another creative way of expressing an idea... to elicit an emotional response from the viewer”. According to Lubalin “nobody was bothering to fool around with the way you form the letters themselves”. That is exactly what he did. Letters became objects, and objects were transformed into letters. He often used tight spacing, saying; “We read words, not characters, and pushing letters closer or tightening space between lines doesn’t destroy legibility; it merely changes reading habits”. Herb Lubalin passed away from cancer on May 24, 1981 at the age of 63 after years of doing what he loved. His lifelong friend Lou Dorfsman remarked, “Perhaps the most awesome contradiction in Herb Lubalin was his blend of silence and eloquence. His conversation consisted of occasionally nodding his head to show that he was still awake and listening— but on paper he caressed words.”

The cleverness of this design is that it is all about the audience, and the reaction good photography elicits. It is very engaging in that way. The lettering was done by Tom Carnase, using a 19th-century Fat Face style. Li-lian Oh was Toby’s rep, responsible for getting him work, so she got a matching set as well. The chances of getting “Ah” to work with are slim, but the chances of “Ah” and “Oh” are one-in-a-million. Lubalin couldn’t pass that up.

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“We read words, not characters, and pushing letters closer or tightening space between lines doesn’t destroy legibility; it merely changes reading habits.” - Herb Lubalin

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“Nobody was bothering to fool around with the way you form the letters themselves. That is exactly what he did. Letters became objects, and objects were transformed into letters. We read words, not characters, and pushing letters closer or tightening space between lines doesn’t destroy legibility; it merely changes reading habits.” - Herb Lubalin

SERIF GOTHIC

LET’S TALK TYPE

By the second half of the 1950s, Lubalin was flying high at Sudler & Hennessey. His work was drawing a lot of attention, gaining respect, and was winning multiple awards. During this period, he also takes full charge of the ad promoting the studio. Lubalin wasn’t just good at setting copy, he was also good at writing copy. Above everything else, he understood that design creates an experience. A message is not enough, designers create the conditions for the audience to receive that message. This is a story of one adwell, two ads really.

In 1957, he conceives of the clever headline, “Let Type Talk, Let’s Talk Type”, which is integrated into an overall descriptive pitch for the studio. The headline is great as it perfectly captures Lubalin’s approach to visual communication. The design is strong as well and is typeset in Garamond Italic and Baskerville. The turnaround for the typesetting would be a day or so, with the whole ad taking about a week to put together, from start to finish. Great! But in 1960, he remakes the ad. Same copy, same pitch, pretty much the same audience. Why? Makes no sense, it seems. But it does. He simply wasn’t satisfied. It wasn’t good enough. Too good of a headline to leave in a design that he perhaps felt was not perfect. To Lubalin the experience of the ad was also really important, and he needed to recalibrate the experience. The design this time around uses lettering for the headline instead of type. This would have added about a week of additional studio time to produce the ad. So not only is he remaking an ad that was already made, he’s also spending more time (and money) on this ad. All in an effort

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to elicit a better experience from the viewer. The desired effect to make the reader stumble and to read the copy again. He’s intentionally making it harder to read at a glance. You have to work to get the message, thereby increasing the time spent with the ad. The densely packed letters are not easy to read quickly. John Pistilli executed the lettering using a Fat Face style of letter and made the type do something that it doesn’t do naturally. He is able to get all the words to justify fully. The ad is masterful and the design is a much better fit for the copy. What’s important to take away here is not the style or the execution but the notion of how typography can affect the way an audience reads the message.

Up: Advertising cenceived in 1957 Right: Advertising remade in 1960

10 (OR MORE) THINGS YOU DIDNâ&#x20AC;&#x2122;T KNOW ABOUT HERB LUBALIN

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His name was pronounced Loo-ball-in, with the accent on the loo.

He was color-blind and ambidextrous.

Although he ultimately rejected advertising in favor of graphic design, he was a key figure in advertising in the 1960s, introducing expressive typography into print advertising.

He rejected Swiss modernism, which he felt was ill-suited to the popular American imagination, in favor of vernacular, decorative, and humanistic approaches to visual expression.

He was a designer with political convictions, a supporter of liberal causes.

Anyone given a Lubalin “tissue” (his hand-drawn layout) to see through to production could not claim to be the piece’s designer. By the time the MTV logo was designed in 1981, Lubalin and his signature style were no longer seen as avant-garde.

He freely acknowledged his many collaborators.

Reflecting on the obscenity conviction of his friend and client Ralph Ginzberg, the publisher of Avant Garde, Fact, and Eros, Herb said, “I should have gone to jail too.”

Herb often said that when he retired he would devote his life to painting.

Alas, retiring and painting were not to happen. Herb Lubalin died 31 years ago at the young age of 63. On O ctober 26 and 27, his life and work were celebrated at a two-day symposium at the Cooper Union in New York City. It was a free public event, a family reunion, a party, and a book launch — the book being Herb Lubalin, American Graphic Designer, 1918-1981 by Adrian Shaughnessy, the event’s moderator and host, who opened day one, “Lubalin Then,” by making the above ten points. The Great Hall was filled with design students and veteran designers who’d made their mark through the decades. The Lubalin family was there, too—sons Peter and Robbie—and many of Herb’s old colleagues and friends, including panelists Bernie Zlotnick, who worked with Lubalin in the ’60s at Sudler & Hennessey; Fay Barrows, Lubalin’s assistant at S&H; ad man George Lois; author and educator Steve Heller; and designer Louise Fili, who in the mid ’70s launched her career at Lubalin, Smith, Carnase. The panelists spoke about the man and his work, affectionately sharing memories and stories. For example: Lois: I almost opened an office with Herb and Lou Dorfsman in the Seagram Building. It was the only thing I didn’t do that I wish happened in my life. Herb was the only art director who could write headlines. Heller: That’s why they fit the layout. Lois: Louie, Herbie, and Georgie. Our company would have been two Jews and a Greek. Fili: He liked my chicken soup and had me make vats of it for office holiday gifts. That wasn’t so much fun, but I loved designing the labels, especially turning the x in “Rx” into a Jewish star. Shaughnessy, a design critic and the author of several other books, including How To Be a Graphic Designer Without Losing Your Soul, posited that in the late ’80s, with the rise of Emigre, David Carson, Neville Brody, etc., Lubalin’s work was seen by many as passé, but is now enjoying an unprecedented revival of global interest. Heller fielded questions from the audience about this, explaining that graphic design is about style as much as it is about ideas, “and now it’s time to embrace this body of work and have it take its rightful place in design history.” Attendees lined up for signed copies of the (now sold-out) “deluxe” numbered and boxed limited edition Herb Lubalin, American Graphic

10 (or More) Things You Didn’t Known About Herb Lubalin

Designer, 1918-1981, published by Shaugnnesy’s newly formed, Londonbased company, Unit Editions. It was an especially nostalgic evening for me. I worked as Herb’s assistant before Louise Fili joined the office, interpreting and overseeing production of some of those famous “tissues”—in my case, for the first two issues of U&lc and various annual report and identity projects. I respectfully disagree with Shaughnessy’s point #5, that “anyone given a Lubalin tissue could not claim to be the piece’s designer.” Although the tissues indicated exactly what Herb envisioned, he was generous with creative freedom. He often said, “Finish this one up and then see what you can do.” Most of the time, he did better and his designs were presented to the client. But if he liked your idea, he would embrace it and sell it. I’m not sure I totally agree with point #3, either—that Herb rejected advertising. He ultimately chose not to work inside the agency system, but his design firm had many advertising agency clients. And he did great ads. I was in love with Herb’s work from the minute “The First Typo-Graphic’s Agency” brochure for Lubalin Burns & Co., Herb’s typesetting company/ custom typography partnership with Aaron Burns, came across my desk in Los Angeles in 1972. With that little brochure in hand, I visited New York for the first time, dropping in at Lubalin, Smith, Carnase on East 31st Street, where I was introduced as “a designer from the coast.” It was the ultimate lucky break. I told Herb about how I’d been keeping track of all terrible ways the ligatures in his then-new typeface, Avant Garde Gothic, were being misused. I think he liked that, and he liked my work, which I’d brought along on 35mm slides. He said he’d offer me a job—if he had an opening. I went back to L.A., thought about it, and, egged on by my friends, wrote to him and sent printed samples. Herb wrote back, “My partner Ernie Smith is retiring. Can you start April first?” So I traded my Santa Monica apartment and my Karmann Ghia for an L-shaped studio on East 18th Street, and gave up my cushy job at UCLA to become a designer at Lubalin, Smith, Carnase. New York was exciting but lonely. I wasn’t used to having three locks on the door and not having a bunch of friends to drop in on. Herb was my boss and mentor, but also my surrogate father. He was about the same age as my father. (Funny, we young designers thought he was “old.” Maybe it was the white beard; he was in his early fifties).

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Herb was a designer with political convictions, a supporter of liberal causes. But he wasn’t just a supporter in the sense of signing petitions or sending contributions, or even publishing the “McGraphic,” an anti-war, anti-Nixon, pro George McGovern tabloid. He did what he could to change the world. And that was nowhere more apparent than in his hiring practices. Herb encouraged me in a way my own father never did, came to dinner and parties at my apartment, brought his friends over. Knowing I missed L.A., he invited me to spend a weekend afternoon or two at the pool with his family on Long Island. And the whole office went for long weekends on Lake George in the Adirondacks, where former partner Ernie Smith ran Port Jerry, a resort with cabins and canoes. There is the ultimate lucky break, and then there is the ultimate dumb move. Why did I leave after two years? Well, there is the glamorous, awardwinning work you see on the pages of Shaughnessy’s book. And then there is the everyday bread-and-butter work that keeps the office running. In my case it was The Illustrated Encyclopedia of Sports Champions. Page after page, volume after volume of articles about football, basketball, and baseball players, tennis stars and skiers, black-and-white glossies to size and send out for stats, galleys of type to cut apart and lay out. Just like Louise made the chicken soup, I sewed the felt numbers for the covers. That was the fun part. But I soon got bored with encyclopedia layouts, and was too young and impatient to appreciate that something more interesting might soon present itself. I wanted to art-direct photography, to work with more color, and ultimately to open my own office.

That I did. But in retrospect I think was a mistake not to take better advantage of the opportunity, and especially not to remain in an office where I could work side-by-side with big talents like Tony DiSpigna, Tom Carnase, Alan Peckolick, and many others. I could have figured out how to make a bigger contribution there. Something else important about Herb: As Shaughnessy pointed out in #5, Herb was a designer with political convictions, a supporter of liberal causes. But he wasn’t just a supporter in the sense of signing petitions or sending contributions, or even publishing (with Seymour Chwast) the “McGraphic,” an anti-war, antiNixon, pro–George McGovern tabloid. He did what he could to change the world. And that was nowhere more apparent than in his hiring practices. As George Lois noted with a big wink, there were lots of women around the office. And that wasn’t just because Herb liked women. It was because he wanted to give women jobs. There were African-Americans, too, office staff and young designers who might not have gotten a job somewhere else. He wanted to give them a break and nurture their talent. Herb didn’t discriminate, except on talent. The atmosphere and cultural mix was nothing like the L.A. design offices I’d visited, hoping to find the right job, where the principals all were WASP-y white men and the only women in view were blondes in miniskirts, at reception desks or bringing chilled white wine to the clients. Luckily, hiring practices have changed a lot, on both coasts. Such as the original and brilliant work of Herb Lubalin.

Herb Lubalin and colleagues in the Sudler & Hennessey office, 1958

10 (or More) Things You Didnâ&#x20AC;&#x2122;t Known About Herb Lubalin

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NDBEY D NDBEY BEYOND NDBEY BEYOND We have just analyzed the body as Typographic element, but what would happen if we went beyond the typography? The body is also the easiest way to perceive the other person, are we able to discern the involuntarily gestures of the human body and their hidden messages? Or we need an explication of other people emotions through voluntary messages on their skin?

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typography

SKIN DEEP and

tattoos

Written by Emily Gosling

“I’ve got books and books and books of different letterforms with different styles so sometimes we try to open their mind a bit if we’re not sure their idea would work, or offer to make them a hand-drawn version. Other people will come in and say they want something that looks cursive, or like Old English, or a little bit ‘gangster’ or ‘horror’, then I’d go away and work on that the same as I would with anything else.” Mishka

Tattoos once served as emblems of defiance, danger and rebellion: images that had mothers weeping and careers advisers holding their heads in despair. Today, however, these countercultural connotations have abated as tattooing has worked its way into the mainstream. Many people you know probably have one (visible or otherwise), and the tattoo taboo has softened. According to a piece in The Atlantic, nearly one in five people in the US now sport a tattoo, rising to nearly 40% of marketing’s favourite demographic, those pesky “millennials.”With the rise in inkings and their wider acceptance, we’re seeing far more than traditional roses, swallows, anchors or well-intentioned inscriptions of lovers’ names. And while a picture is said to speak a thousand words, sometimes words are exactly what people want on their skin, and so typography and tattooing are disciplines more interlinked than ever. The most common route into tattooing is through apprenticeships, taking anywhere from one to three years, which involve learning the trade on the job as well as studying aspects such as contamination and the more physical risks that could come with badly created work. While many tattooists come from an art background, most learn the nuances of letterforms on apprenticeships or on the job. And of course, considerations around kerning, sizing and other typographic technicalities are very different creating designs for skin compared to for print or digital applications. Lord Montana Blue (yes, that’s his real name, not an aristocracy thing) has been working as a tattooist in London’s King’s Cross for the past ten years, having studied a degree that combined fine art and graphic design and working as a freelance graphic designer on graduating. “I was getting tattooed a fair bit while I was working

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as a designer and then thought it was a gamble worth taking to learn how to do it,” he says. It seems his grounding in graphics and lettering fostered an initial understanding of type forms that was honed as he worked more and more on skin and stepped away from graphics client work. Fellow Londonbased artist Mishka also got into tattooing having studied art, moving away from a conceptual installationbased studio practise that she says was “haemorrhaging money” to work for a friend who became a mentor and trainer, Kali. Mishka’s lettering work is strikingly bold and geometric, rendered in a style that draws on her Belarusian heritage. “In general the only font I’m interested in is Vyaz, so it’s very geometric using long vertical lines,” she says. “I’m interested in that style as it’s not only script, but also an image, so it’s not always obvious what’s written. It’s based on an old Slavic church font, so you’re trying to slot letters into one another a bit like a logical puzzle. It’s constricted but beautiful and repetitive – a mix of being creative and rule-driven.” The letterforms Mishka draws from were traditionally used for icons and religious manuscripts in Cyrillic, but in her tattooing she draws her own versions on graph paper by hand either in English or Russian alphabets. “Once you understand the rules you can make them more gothic or Constructivist,” she says. “Personally I like a bold, graphic approach, and I try to do things that are a bit unusual or that not everyone else is doing.” Ultimately, it’s the role of the artist to guide people into collaboratively coming up with the best solution for the word they want, where they want it, how they want it drawn and ensuring it’s stylistically something suited to their design and personality. “Not every size of letter and not every font works on skin. Some people come

in and say ‘I want this word and this font and I want it here’ then we guide them through things like letter sizes,” Blue explains. For Mishka, her process involves sending customers a number of different examples of the word they want drawn in her style, “ranging from the more feminine to the more gothic, or minimalist, or bold.” They then choose from up to 20 versions and she designs a custom font for them. “Some words constrict better and more elegantly than others,” she says. “It’s also very important to determine where they want it on the body, as that determines the shape of the letters. You have to be so careful with curvier body parts as the image can distort so much.”As Stewart O’Callaghan, a tattooist currently based in Brighton who learned the trade having been studying for a PhD in psychology points out, most people that come in aren’t aware of things like serifs, and “neither should they have to be.” He considers that having an artistic background could in fact be a hindrance to becoming a tattooist, “as not every art style aligns itself with tattooing.” He explains: “You have to think about line weights, composition and things, so it’s more like illustration. There’s been a growth in stark, illustrative tattooing styles as maybe more people are coming out of illustration degrees and want to apply what they’ve learned to tattoos.” When working out lettering designs with customers, O’Callaghan finds that many people simply know what they want written and where.

Version of Dante’s Gate of Hell by Miska

Skin Deep. Typography and Tattoos

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Stewart O’Callaghan, a tattooist currently based in Brighton.

“People often find it hard to visually map script, and so it’s your job to be able to draw that from them and guide their hand in the room.” Stewart O’Callaghan

He says that a lot of people want internet-ready type, and so uses the online resource DaFont, an archive of freely downloadable fonts. “But a lot of them aren’t tattooable,” O’Callaghan concedes, “so you have to think about where that design meets the body. I’ll often steer people towards something hand-drawn as I know that suits the sort of work I do. “One of the biggest problems in lettering on the body is size, because when we do a tattoo the lines can blur a little and even a millimetre is the difference between a ‘c’ or ‘e’. Sometimes with a font we’ll have to make the negative space bigger to make it clearer and be honest about people’s expectations for having a word in a difficult place, like behind their ear. Generally it’s best to push for lettering five or ten per cent larger, as you want it to read well years down the line.” Mishka also stresses how different skin’s interaction with ink is compared to paper: “Things like the detail and scale are very different,” she says. “The contrast between black and white on paper is one thing, but on skin black becomes blue over time and the skin almost acts like stained glass as the ink ages – it grows, so the lines will get fuzzier and if the negative space in lettering is too small it eventually becomes illegible.” Blue most often works by drawing an image and creating a stencil, though other artists work freehand onto the body, working in a similar way to how a traditional sign painter might (albeit onto very different surfaces). But as Mishka points out, however you create an image, the most important consideration is its translation onto the body itself, and the individual person. “Anything you do with a tattoo has to accentuate the way the body flows,” she says. “You have to think about the person and the impression you get about their personality. You get a feel for a person, and I try to make something that harmonises with their personality and their aesthetics, or how they carry themselves.” The advent of social media and image-based online resources like Instagram and Pinterest has not only popularised tattooing and opened up new avenues for inspiration, but it’s provided an easily curated and beautiful shop window of sorts for tattoo artists. The flipside is that it’s also meant a rise in trend-led tattooing work; and even more frustratingly for artists and customers, created a set of unrealistic images that simply aren’t possible. Many are Photoshopped, or cannily shot just as the ink is fresh. As such, there’s little indication of how

such designs look in real life, let alone after a few years of being on skin that naturally morphs and changes with the body and in the elements. Trend-wise, Blue says that “at the moment there seems to be a fashion for a very loose handwritten scrawl that looks like a heartbeat line, but it’s so stretched that there’s no negative space in the ‘o’ or ‘e’ even on paper. Whatever you do the line will always stretch and look different to how it looks on paper just because that’s the line you get with tattooing. You have to think about what it’ll look like in three or four summer’s time, and once it’s been stretched across skin. Bigger letterforms will always work best.” O’Callaghan adds that the styles that work least well as those “messy by design,” or that have a sense of rawness about them. “Things with a certain amount of crispness about the design work well, but you have to think about if you’re working with the flow of the body or against it,” he says. “It helps to pick soft scripts or big lines, something like a Chicano reference [Mexican-originated lettering] – that’s interesting because it mixes very heavy, bold letters with very thin cursive fonts. It’s that contrast that makes a very beautiful tattoo.” “People are often scared that they don’t have the vocabulary to take the creative lead,” says O’Callaghan. “Often they’ll bring in pictures but you don’t want to just recreate another person’s tattoo as it’s against the moral code of tattooing. People who are more concerned about size can give you the threshold of how large they would be willing for the tattoo to go, but you want people to feel part of the creative process and trust you.” Blue finds social media and online imagery to be both a blessing and a curse. “It’s a struggle,” he says. “People come in with their heart set on something and we’ll give all the advice we can but you have to draw a line in the sand. I don’t want to blame Pinterest and social media but it can give the wrong idea, or an image will have been taken out of context having been reposted and reposted. With tattooing you have to consider the shape of the body, and how something might work differently on male or female bodies. Sometimes you say something can’t be done, and people will then just go to a less reputable artist to get it done there.” With any sort of tricky negotiation, Mishka says that it’s vital the artist is patient and empathic, and will even show clients an image of a celebrity with their fresh tattoo, and another of the same tattoo six months later to try

Skin Deep. Typography and Tattoos

“Something I always think about is the fact that at some point you’ll be sick and in hospital and can’t speak for yourself, so your body will speak for you.” Montana Blue

On the left, Andres Harren, one of the most tattooed men in the world. On the right, a Mishka tatoo.

BEYOND

and demonstrate how mutable things can be. “The trick is to be patient; try and see where they’re coming from,” she says. The other issue with social media feeds, as O’Callaghan says, is that they act as an “aggregate of popularity and the number of people hitting the ‘like’ button. But that’s not the same as a well executed idea or level of taste. Things can rise to the top that mean great work goes unnoticed.” Blue and O’Callaghan agree that cursive fonts – particularly Diana – are the most popular requests, and a common challenge is to simplify or enlarge the design to ensure legibility. The same applies to customers who want lettering created in the style of their own handwriting. The key is to maintain an awareness of “what sits well on the body,” says Mishka. “The body isn’t flat pages: a big block of text might mean a lot to somebody, but it doesn’t mean it’ll look good visually. If the script functions like a well-tailored item of clothing, it’ll look good on the body.” Blue cites an instance of writing the entire Lord’s Prayer across a customer’s arms, using letterforms at just 5mm high.

For him, the most fun letter-based tattoos to draw are “around five or six letters long, a big script where I’m given the freedom to run wild.” They also agree that the very true cliché in tattooing is that the smaller the tattoo, the more the customer is likely to fret about style, sizing and placement. The style and shape of letterforms are one thing, but what about the content? Are there any words, or phrases the artists wouldn’t ink on moral grounds? “Something I always think about is the fact that at some point you’ll be sick and in hospital and can’t speak for yourself, so your body will speak for you,” says Blue. “I’d rather not put something on someone that will have them judged. So sometimes I’ll swerve things where I don’t want to be responsible for anything negative that happens to that person because they’re wearing a certain word.” Mishka is even more emphatic about where she draws the line, literally and metaphorically. “I won’t do partners’ names,” she says. “I’ll do dogs’ names, kids’ names, gods’ name even, but I won’t do partners names. It’s like a jinx.”

Skin Deep. Typography and Tattoos

HOW COMMU

Written by Sarah Hyndman

BRANDS NICATE Body language defines the people, like typography the brand identity. Apple uses evocative expedients to show the elegance of its products and the cleanliness of its aesthetics.

If you want to really connect with your audience then it is important to consider who they are when you choose a font. This is like speaking in the right tone of voice. In the business world, using type styles appropriate to the sector can help You to speak the same language, although this is not to suggest that you actually go as far as imitating the clientâ&#x20AC;&#x2122;s corporate font. If You are not sure what these are then look up some companies in the sector and see what type styles they use.

A Nike ad that want represent its slogan in a graphic way.

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N O T didactic

Use font, infuence people. In today’s hyperconnected world, we exchange more words than ever before. And the proliferation of channels through which we communicate means our devices are often flooded with information. But for brands, there’s much more to these words than just the message they convey. As consumers increasingly look to each other for inspiration and guidance, through the likes of social media, blogs, and reviews brands also need to become more communicative,

hands-on and human, with their own distinct personality. While typography is an often overlooked tool, as the core vehicle of communication, it should be the first port of call when it comes to shaping brand personality. Typography moves the reader along and gives a word body language, when it is done skillfully. It can help give your brand more of an identity. Next time you write content for a webpage, stop to think about what the typography is doing for your words. Is

it hurting them or helping them? At Lippincott, we call the shift from brand to consumer focus ‘The Human Era’; a period in which brands must build connections through authentic stories, signature innovations and inspiring experiences that are rich, powerful and lasting.

How Brands Communicate

Font reveal your personality In 1985, David Cooke started Blockbuster Video in Dallas, Texas. Cooke worked with Dallas-based Rominger Advertising agency and Art Director Lee Dean to design an identity. He chose ITC Machine as Blockbuster’s typeface. In Blockbuster’s nearly 30 year existence, ITC Machine had never been taken out of the identity.

Fonts are like typographic selfies. You are drawn to typefaces that reflect your values and aesthetics, and you dislike them when they do not. Your loyalty can be called into question if a brand You pay allegiance to changes its logo typeface to one You no longer identify with. This is illustrated by the outcry from Gap customers when the logo font was changed to Helvetica bold, which they thought looked ‘cheap, tacky, ordinary’. You interact with fonts through the brands You surround yourself with. You idendify with the values of the newspaper you choose to read, the brands You put in your shopping basket, the clothes you wear and the car you drive. You are curating the fonts that surround You in your everyday life through the logos on the products you buy and collect. Designers understand how important typefaces are when creating brand identities, and that a successful one can become highly recognizable from its lettering alone. You know from a single letter whether a cola is CocaCola or Pepsi, a TV channel is BBC

or ITV, a browser is Yahoo or Google. When somebody is speaking we take less than 10% of the meaning from the actual words they say. More than 90% of the meaning is communicated by their tone of voice and through visual clues like their facial expressions, body language and the clothes they are wearing. Your clothes, like your possessions, transmit clues about your personality, financial status, social group, background etc. They tell the world who You are, or who you want to be today. You make judgements about others within the first seconds of meeting based purely on aspect. Fonts convey non-verbal information in a similar way to clothes. Your choice of font tells the world how serious you are, and it clues the reader in to your emotions or your intentions before they have started to read. Just like noticing when somebody is dressed inappropriately or their words do not match their body language - if you use a mismatching font ou may find your credibility is called into question.

The signboard of a blockbuster store, that represent a ripped ticket of a cinema movie.

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â&#x20AC;&#x153;When somebody is speaking we take less than 10% of the meaning from the actual words they say. More than 90% of the meaning is communicated by their tone of voice and through visual clues like their facial expressions, body language and the clothes they wear.â&#x20AC;?

Redbull decided to focus its marketing campaign on the evocative aspect that wants to convey with his drink. A perfect example of non-verbal communication in brands.

How Brands Communicate

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Designers know typography influences the way we view a product. Whether the typeface reflects price, style or age, it's an important part of branding. But typography can do more than change a perception: it can change taste.

This is what we discovered at Sarah Hyndman’s wine and type tasting evening, which is running as part of the London Design Festival. I went along to its opening night a nd discovered the power typography had over the taste of wine. More than simply creating an excuse for weeknight drinking, Sarah’s using wine was a clever example chosen to show a product controlled by image. It’s an alcohol riddled with pretentiousness. There are so many variants on whether you will have an enjoyable experience – the label, the positioning and price of it on a restaurant menu, the aroma, colour and where it was made. Sarah believes typography can influence these variants. She’s been involved in research into our psychological responses to the appearance of words with the Crossmodal Research Lab at the University of Oxford, and plans to publish her new book - How to Draw Type and Influence People - in April next year. Before that, she ran her own design company for ten years. She says the words we read will intensify both our anticipation and enjoyment of a flavour, and the way these words look can do the same thing. Typeface can make a wine look and taste expensive. If we think a bottle of wine is more expensive, then we will enjoy the taste of it more than if we think it’s cheap. This was the first lesson I learnt. We were given the task of ordering several typefaces used for wine labels from most expensive to least. We found labels with thin, smaller-sized, contrasting typefaces (possibly with serifs) were associated with expensive wine. In contrast, jagged, fat typefaces usually don’t go down so well. Looking at these typefaces felt uneasy, like rough edges. Consumer testing of food packaging shows whilst triangular shapes are eye-catching, they’re not the products we tend to buy. Sarah says this can be traced back to basic human hunter-gatherer instincts. But it’s not just typography itself that influences taste.

Wine packaging for Sandeman 225th Anniversary

Wine Not?

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Typeface can make a wine look and taste expensive. If we think a bottle of wine is more expensive, then we will enjoy the taste of it more than if we think it’s cheap.

Wine packaging for Sandeman 225th Anniversary

With design its best to use as many sense as possible to create an experience. Without revealing all the exercises from the evening, I discovered that drinking the same wine whilst processing separate typefaces, colours, textures and sounds meant the wine shifted from tasting sweet to tasting bitter. Masculine, earthy tones and rough shapes caused a bitter flavour in the wine to intensify. Feminine, soft and cursive tones accentuated the sweeter and floral flavours. Even drinking wine while blocking your noise made a difference to the taste of acidity. But Sarah insists it’s not manipulation but something that happens on an instinctive level, “we’re just not consciously paying attention to it”. An example of different uses in typography can be seen in the labels of Old World wine (France, Italy) and New World wine (Australia, South America, New Zealand). Old Wine labels use traditional, busier typeface styles and design that link to history and authenticity. This becomes a visual metaphor for what we assume will be the experience of drinking the wine.

The labels feature traditional serif typefaces and formal script. Imagery is often engraved in style and can feature crests or symbols of provenance. Colours are muted, with traditional shades and textures. So what’s the best typeface to use? There’s no magic formula to picking a successful typeface – it has to be a beautiful combination of conveying the right message, tone, context and appropriate size and colour.

Wine Not?

Letâ&#x20AC;&#x2122;s

A call for Entries 2018 Design competition

Riff on the serif For the first number we have changed our conception of body from main typographic element to main theme of the magazine. This process will be used again in all the future editions of Upper & lowercase,the next number will be completely dedicated to the Serif, not always present in thypography, but able to completely change the perception of a letter, a text and consequently your way of thinking.

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The theme of the contest is the serif, his classical perception or an atypical one, a reflection on his classical use or an analysis under a new point of view, your pointo of view, literally a call for entries, a way of working which is not new for U&lc.We are asking you to design a piece that would be suitable for use in this magazine as cover, first page of a section, retro cover or a normal illustration. The layout is at the participant discretion, the format is of course the same of the

magazine, suggested possibilities include Typographic, Calligraphic, Photographic composition, collage, 3D art etc. Each entry will be evaluated for quality of the concept, excellence in use of the word and originality of the idea. The 5 best ideas will feature in the next number of the magazine in a special section. For addictional information like the deadline for entries, the form and where to send your entry please visit the following link or contact us at the same landing page.

https://www.monotype.com/company/contact/

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ECIMEN SPECI ECIMEN SPEC ECIMEN SPECI We are the company behind type. Our fonts and technologies bring the world’s words to the page and screen. Experiment with thousands of fonts, or choose just a few for your brand. Either way, your font search starts here. Monotype Inc. is a publicly traded type foundry and technology company with 750 employees in 14 offices around the world. No other company does as much with type as Monotype. Our library is home to many of the most celebrated and influential typefaces of our time, including Gill Sans and Times New Roman.Today, we have a library of more than 10,000 fonts and owns the rights to prominent type families such as Helvetica, Univers, and Frutiger. And we've developed the technologies that bring type to the screen for millions of consumer products and user interfaces worldwide. Wherever you see type, both now and in the future, there's a good chance we're behind it.

SPECIMEN Special

From the digits on your alarm clock to your book at bedtime, from your car dashboard to the signs at the airport, from apps, games and websites to billboards, logos and packaging, we make fonts for everything, everywhere and everyone. We’ve been doing it for years, and we’re still meeting new design demands with every typeface we create. Whether you are a designer, a design student, a typography fan or simply a creative person, in the next pages you’ll find a selection of our most famous, influential and appreciated typefaces. Serifs, Sans Serifs, Display fonts all brought alive on paper to make you experience typography as it was originally created: ink on paper.

NSPECIM IMENSP NSPECIM CIMENS N SPECIM IMENSP Special

Eric Gill / 1928-1932

Light Regular SemiBold Bold Ultra Bold Bold Italic SemiBold Italic Italic Light Italic

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A MODERN BRITISH CLASSIC. Gill Sans is a humanistic sans serif family that, while is considered by many to be quintessentially British in tone and concept, has been used in virtually every country and in nearly every application imaginable. Gill Sans has reached this level of near-ubiquity for one simpleâ&#x20AC;&#x201D;and very goodâ&#x20AC;&#x201D;reason: it is an exceptionally distinctive design with a potential range of use that is almost limitless.

MT GILL SANS

ABCDEFGHI JKLMNOPQR ST UVW X Y Z abcdefghi jklmnopqr stuvwxyz 1234567890

Monotype Design Studio / 2007

regular

Italic

Bold

Bold italic

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890

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useful for headlines

Century Gothicâ&#x201E;˘ embodies the highly sought-after assets of the digital age with its sleek sans serif style while remaining true to the gracefully geometric look of the early 20th-century typefaces it was inspired by. Its clear, clean design allows for legibility at almost any size

and its wide range of styles give it the stamina to thrive in bodies of text as well as in display settings. Century Gothic is appropriate and appealing for myriad typographic applicationsâ&#x20AC;&#x161; from high-resolution print and largescale signage to low-resolution text displays and mobile devices.

MT CENTURY GOTHIC

GEOMETRIC STYLE SANS SERIF FACES

sabina chipara / 2017

ENGRAVED

DECO

INLINE

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FLOURISH

SOLID

The Rosellaâ&#x201E;˘ family is an elegant and playful suite of typefaces that are ideal for book covers, social announcements, packaging and posters. While modern as today, the design also has a quiet antique vibe that brings an understated refinement to a variety of hardcopy projects. Rosella is a typeface for those times you need a design that stands out from the crowd â&#x20AC;&#x201C; but with grace and composure.

MT ROSELLA

A BCDE FGHIJK L MNOP Q RST U V WXYZ

Monotype Design Studio / 1958

The Placard Condensed font family is based on drawings received from Germany. These narrow, heavy, sans serif typefaces were made for use in headlines and advertising display work. Placard Condensed has a large x-height, short ascenders and descenders and is capable of packing very tightly to produce forceful publicity work.

MT PLACARD

Giovanni (Hans) mardersteig, ron carpenter / 2001 76

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Special

MT DANTE

ante is a beautiful book face which can also be used to good effect in magazines and periodicals. It was first created as font of metal type in the mid-1950s. Unlike later typesetting technologies, metal type made an actual impression into the paper during printing. In other words, Dante was originally a typeface that was intended to be impressed into paper â&#x20AC;&#x201C; not onto it.

Morris Fuller Benton / 1903

Light

Medium

Bold

SMART SANS STD McDonald drew three weights for the Smart Sans family as a personal tribute to Leslie (Sam) Smart, a twentieth century design pioneer who raised the standards of Canadian typography. Smart Sans is ideally suited for setting attention-getting headlines and powerful display copy. The two-storied ‘g’ contributes to the design’s lively personality, and the short ‘r’ helps maintain tight, even spacing. Special

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Sebastian Lester / 2004

1234567890 Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz

Black Bold Medium Regular Light

NEO SANS

The client wanted an “ultra modern” typeface. The design brief said the finished product should be “futuristic without being gimmicky or ephemeral.” The result was the Neo® Sans design. An “extended” typeface family, Neo Sans and Neo Tech were designed to encompass readability and have a futuristic demeanor.

Albert Boton / 2001

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Li Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 11 22 33 44 55 66 77 88 99 00 & ? ; )

Some typefaces are mysterious, like this one - its origins are an enigma wrapped within a riddle, indeed. While its letterforms may be shrouded in secrecy, this design is sure to make a fine addition to your typographic arsenal, so we recommend you go try it out.

Ligh Light Italic Regular Italic Medium Medium Italic Bold Bold Italic

Memo Special

Edward Benguiat / 1981

g g g g g g

g g

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ITC Barcelona is a serif typeface with almost decorative details. The bold and heavy weights include some unique twists to a number of characters and numerals which are slightly rounder than those of the other weights. This flexible type can be used in text or displays.

Book Book Italic Medium Medium Italic Bold Bold Italic Heavy Heavy Italic

Barcelona

ABCDEFGHI JKLMNOPQR STUVWXYZ abcdefghi jklmnopqr stuvwxyz 1234567890

Edward Benguiat / 1974

Light Italic Medium Italic Demi Italic Heavy Italic Light Italic Medium Italic Demi Italic Heavy Italic Light Italic Medium Italic Demi Italic Heavy Italic Light Italic Medium Italic Demi Italic Heavy Italic Light Italic Medium Italic Demi Italic Heavy Italic Light Italic Medium Italic Demi Italic Heavy Italic Light Italic Medium Italic 86

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Tiffany

c c c c c c c c c c c c c

ITC Tiffany font was designed by Edward Benguiat, a highly contemporary blend of two fonts, Ronaldson and Caxton. The best characteristics of both were combined to produce a refined and refreshing font.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789

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Cover: Gemma O'Brien, Alphabeth II

Editor: Giusy Di Staso Vice editor: Debora Angelico

Inside front cover: Filippo Tommaso Marinetti, Words and Freedom, pages 20-21 Inside back cover: Herb Lubalin, Avant Garde alphabet type specimen

Art director: Annalisa Bianchini Designer and picture editor: Martin Di Pietro, WSasi Tanyanurak Production director: Alberto T. Di Lizia Published by: Monotype Imaging Inc., 600 Unicorn Park Drive, Woburn, MA 01801 Contributors: Tim Brown, Allan Haley, David Cundy, Luc Benyon, Laura Forde, Lubalin Center, Adrian Shaughnessy, Sarah Hyndman, Emily Gosling, Miriam Harris Typography: Main typeface for U&lc Body: ITC Modern n.216 FYTI: Bodoni MT, Tw Cen MT ART: Strayhorn MT SPECIAL: ITC Lubalin Graph BEYOND: ITC Franklin Gothic SPECIMEN: MT Gill Sans, MT Century Gothic, Rosella MT, Placard MT, MT Dante, Smart Sans MT, Neo Sans MT, Memo MT, ITC Barcelona, MT Tiffany. Printed by: SEF, Mainardi Massimiliano, Via Candiani 124, 20158, Milano (IT). Paper: Inner pages: Cordenons Divina 120g, Sirio Pearl 115g. Cover paper: Favini 350g Politecnico di Milano, MoS Communication Design, Complex Artefacts and System Design Studio Redesign of U&lc by: D. Angelico, A. Bianchini, A. Di Lizia, M. Di Pietro, G. Di Staso, S. Tanyanurak