Typography II Process Book by Tina Kim

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contents 05 letter composition 09 patterning & pairing 13 patterning & pairing & pacing 17 type designer history 23 type is culture / food is culture 29 graphic design manifestos 33 type as a vehicle for form 37 sculpture lecture series 43 the book

letter composition

We were to bring a set of black on white and white on black letters and a large scale version of the letter on the first day of Typography II. We cut and pasted the sets of letters onto the large paper and attempted to make a dynamic and interesting composition. When we were asked to choose a typeface for this assignment, I immediately thought of Rockwell A because it was one of my favorite typefaces and its symmetry in captial letter A pleased my personal aesthetic preference. After several trial and errors in making a dynamic composition, I decided to go “outside the box”.

I pasted the small A’s not only inside, but also outside the frame to create a more spatial composition. Placing some of the A’s on the adjacent walls activated the space around the large A, which was very similar to installation art. I consistently used 90 degree angles for the small Rockwell A’s mainly because I wanted to keep the slab serif’s unique geometry interactive throughout the whole layout.

patterning & pairing

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Branching off from the previous in-class exercise, we were assigned to investigate and experiment pure typography. There was not a specific limitation to which typeface we should use, so I kept Rockwell as my dominant typeface in order to make the assignments more cohesive. I was very interested in how the alphabet of Rockwell was so symmetrical and balanced that it could be easily read differently. For the example of “n” and “u”, the “u” looks like the “n” was 180 degrees rotated clockwise; the same applied to “p” and “d”. Before, I did not realize that I could make interesting patterns and compositions just with typography. This assignment taught me how to observe typography and letter forms very closely and discover something that was unexpected and interesting. It taught me to “let the type happen”.

patterning & pairing & pacing

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The final project of this series was the PPP (Patterning & Pairing and Pacing) book. We collected all the typographic patterns that we created for the previous assignment and assorted them into a book format. We were to lead the reader with certain rhythm and pacing that we set throughout the book. The book format completely changed how we look at the typographic patterns. As individual sheets of paper posted on the wall, I naturally observed the typography holistically and looked for overall fluidity of the patterns. However, when they were bound and became an objective, which I could hold and touch, I immediately found myself focusing on the details of the typography. Especially, setting a pace for the book to make it “loud” or “quiet” definitely helped the book to be an interesting typographic object.

type designer history

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As the chief designer of ATF, Morris was also involved in managing assistant designers and a type committee that determined the type preferences the market would support. He learned how to decipher the significance of trends in advertising types; he studied the market to decide what sort of face it demanded at the time, as his policy was not to flood the market with new and extraneous type designs. In the 1920s, Morris realized that the introduction of advertising agencies and typographers would bring a whole new perspective of type design. As the advertisement industry prospered, the demand for new and “exciting” typefaces grew, which eventually brought the age of display type. Morris designed original typefaces of his own, such as Franklin Gothic, Broadway, Eagle, and Hobo. His unique display type designs were both commercially and typographically successful. Morris Fuller Benton devoted his entire professional life to the American Type Founders Company alongside his father Linn Boyd Benton. Morris’ persevering motif of his creations was practicality. The Bentons did not identify themselves as artists, but instead as vessels that flawlessly carried the ideas of text. Morris extended the usefulness of type family in general by maximizing its functionality in printing industry. Always insisting on legibility and practicality to printers, Morris continued to refine his type designs and machines, which allowed the company to prosper economically; many of his types, including the revivals of historic type, were excellent sellers for ATF. Completing 221 typefaces in his lifetime, Morris was truly a remarkable typeface designer in history of typography and printing, who was profound in all areas commercially, practically, and artistically.

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Century Schoolbook

With the elder Benton’s invention of pantographic engraving or matrix-engraving machine, printing industry underwent a great shift in revelation as the mechanical age of typefounding imposed on the traditional making of types. Before the pantographic engraving machine, all punches and matrices of individual metal type were hand cut and hand casted by people. The level of craftsmanship and time put into each metal typeface was extremely high and demanding. Also, carefully made punches and matrices were always exposed to damage and deviation as their every handling demanded absolute delicacy and adeptness. However, the punch-cutting machine, which later became the pantographic engraving machine, paved way for the mechanical system of printing industry. Linn Boyd Benton perfected his invention through countless experiments and prototypes and finally eliminated the traditional intermediate process of making punches and electrotypes of metal cast altogether. The device could produce a perfectly fitted character that is directly cut into a blank nickel brass, which resulted in the making of a perfectly engraved matrix. As a master of the technology and engineering at the time, Morris worked on the machines and assisted his father in refining the models to perfection. The Bentons demanded and expected any deviation or error in the machines be within only two ten thousands of an inch, which is still an incredible level of precision even today. Morris spent his entire professional life at ATF as the core of the company’s design department. The policy of the company to not advertise the importance of individual employees is part of the reason Morris did not fully receive prominent recognition as a prolific typeface designer. Morris’ historic type revivals brought the old typefaces into light again for wider audience to read and utilize. His reworks of Garamond and Bodoni were the most popularly used and recognized at the time during the early 20th century. Not only did he commercialize and popularize such historic typefaces, but also developed and expanded existing faces such as Cheltenham and Century further by adding new variations in weights, which ultimately initiated the appreciation of the concept called type family.

Franklin Gothic

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It is no less than a fact to say modern v and printing exist today because of the Bentons’ innovations. Morris Fuller Benton and his father Linn Boyd Benton are two of the most underemphasized figures in history of typography. The Bentons’ contribution to type design and printing industry played the critical role of maximizing proficiency in producing types and prints. Born in Milwaukee, Morris was greatly influenced by his father Linn Boyd Benton, who was a great typeface designer and inventor. Spending much time in the family home’s printing workshop, Morris learned to design and print tickets for local children’s music classes and for neighbor shows in his youth. He graduated from Cornell University with a degree in mechanical engineering, thriving in freehand drawing, mechanical drawing, and machine shop work. After the graduation, Morris immediately started his professional life at ATF (American Type Founders) in 1896, under his father who was one of the founders and director of ATF. He soon rose as the chief designer to ATF in 1900 and maintained his position until 1937, allowing the company to prosper in the early 20th century.

Adscript Agency Gothic Agency Gothic Open Alternate Gothic No.1 Alternate Gothic No.2 Alternate Gothic No.3 Alternate Gothic Title No.1 American Backslant American Caslon American Caslon Italic American Text Announcement Roman Announcement Italic Antique Shaded Bank Gothic Light Bank Gothic Medium Bank Gothic Bold Bank Gothic Condensed Light Bank Gothic Condensed Medium Bank Gothic Condensed Bold Baskerville Roman Baskerville Italic Benton (Whitehall) Bodoni Bodoni Italic Bodoni Bold Bodoni Bold Condensed Broadway Broadway Condensed Broadway Nos.2 and 3 Bulfinch Oldstyle Bulmer Roman Bulmer Italic Cambridge Cambridge Italic Canterbury Card Bodoni Card Bodoni Bold Card Litho Card Light Litho Card Mercantile Card Roman Century Bold Century Bold Condensed Century Bold Condensed Title Century Bold Extended Century Bold Italic Century Catalogue Century Catalogue Italic Century Expanded Century Expanded Italic Century Oldstyle Century Oldstyle Italic Century Oldstyle Bold Century Oldstyle Bold Italic Century Oldstyle Bold Condensed Century Schoolbook Century Schoolbook Italic Century Schoolbook Bold Cheltenham Bold Cheltenham Bold Black Outline Cheltenham Bold Condensed Cheltenham Bold Condensed Italic Cheltenham Bold Extra Condensed Cheltenham Bold Extra Condensed Title Cheltenham Bold Extended Cheltenham Bold Italic Cheltenham Bold Italic Shaded Cheltenham Bold Outline Cheltenham Bold Shaded Cheltenham Extrabold Cheltenham Extrabold Shaded Cheltenham Inline Cheltenham Inline Extended

First, I tried to utilize 45 degree angles and bleeding white space to create a dynamic composition. However, as I kept searching for the right composition, I favored the vertical orientation of the panels. The diagram of the machine that Benton invented fit more comfortably in a vertical composition. After I received a critique that my black and red poster was rather muddy and overdone, I decided to change my color scheme to lighten the layers and started to simplify the hierarchy of information.

Morris

Type designer history was to design a 3-square-panel-poster about a graphic designer. On the poster, we had to include an essay about the designer and minimum of one typeface specimen that the designer dominantly used or designed. Therefore, a great deal of research and information was critical for this project. I was assigned to Morris Fuller Benton, one of the prolific graphic designers and typographers in the 20th century. One of the things that I wanted to include in the poster was his list of 221 typefaces, which he designed during his career as a graphic designer.

Cheltenham Inline Extra Condensed Cheltenham Medium Cheltenham Medium Italic Cheltenham Medium Condensed Cheltenham Medium Expanded Cheltenham Monotone Cheltenham Oldstyle Condensed Cheltenham Wide Chic Civilite Clearface Clearface Bold Clearface Bold Italic Clearface Gothic Clearface Heavy Clearface Heavy Italic Clearface Italic Cloister Black Cloister Oldstyle Cloister Bold Cloister Bold Italic Cloister Bold Condensed Cloister Bold Title Cloister Cursive Cloister Cursive Handtooled Cloister Italic Cloister Lightface Cloister Lightface Italic Cloister Title Commercial Script Copperplate Gothic Shaded Cromwell Cushing Antique Della Robbia Light Dynamic Medium Eagle Bold Engravers Bodoni

Engravers Old English Engravers Old English Bold Engravers Shaded Engravers Text Franklin Gothic Franklin Gothic Condensed Franklin Gothic Condensed Shaded Franklin Gothic Extra Condensed Franklin Gothic Italic Freehand Gallia Garamond Garamond Bold Garamond Bold Italic Garamond Italic Garamond Open Globe Gothic Globe Gothic Bold Globe Gothic Bold Italic Globe Gothic Condensed Globe Gothic Extended Globe Gothic Extra condensed Goudy Bold Goudy Bold Italic Goudy Catalogue Goudy Catalogue Italic Goudy Extrabold Goudy Extrabold Italic Goudy Handtooled Goudy Handtooled Italic Goudy Title Gravure Greeting Monotone Grolier Headline Gothic Hobo Invitation

Fuller

Morris spent his entire professional life at ATF as the core of the company’s design department. The policy of the company to not advertise the importance of individual employees is part of the reason Morris did not fully receive prominent recognition as a prolific typeface designer. Morris’ historic type revivals brought the old typefaces into light again for wider audience to read and utilize. His reworks of Garamond and Bodoni were the most popularly used and recognized at the time during the early 20th century. Not only did he commercialize and popularize such historic typefaces, but also developed and expanded existing faces such as Cheltenham and Century further by adding new variations in weights, which ultimately initiated the appreciation of the concept called type family.

Raleigh Gothic Condensed Rialto Rockwell Antique Roycroft Rugged Roman Schoolbook Oldstyle Shadow Souvenir Sterling Sterling Cursive Stymie Black Stymie Black Italic Stymie Bold Stymie Bold Italic Stymie Light Stymie Light Italic Stymie Medium Stymie Medium Italic Thermo 100 Series Thermo 200 Series Thermo 300 Series Tower Typo Roman Typo Roman Shaded Typo Script Typo Script Extended Typo Shaded Typo Slope Typo Upright Typo Upright Bold Ultra Bodoni Ultra Bodoni Condensed Ultra Bodoni Extra Condensed Ultra Bodoni Italic Venetian Venetian Bold Venetian Italic Wedding Text Wedding Text Shaded

Century Schoolbook

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Benton

Invitation Shaded Light Hobo Light Oldstyle Lightline Gothic Lightline Title Gothic Lincoln Lithograph Shaded Louvaine Light Louvaine Light Italic Louvaine Medium Italic Louvaine Bold Louvaine Bold Italic Miehle Extra Condensed Miehle Extra Condensed Title Modernique Monotone Gothic Monotone Title Motto News Gothic News Gothic Condensed News Gothic Extra Condensed News Gothic Extra Condensed Title Norwood Roman Novel Gothic Othello Packard Packard Bold Paramount Parisian Pen Print Open Phenix Piranesi Bold Piranesi Bold Italic Piranesi Bold Italic Plain Caps Piranesi Italic Piranesi Italic Plain Caps Poster Gothic Raleigh Gothic Condensed Rialto Rockwell Antique Roycroft Rugged Roman Schoolbook Oldstyle Shadow Souvenir Sterling Sterling Cursive Stymie Black Stymie Black Italic Stymie Bold Stymie Bold Italic Stymie Light Stymie Light Italic Stymie Medium Stymie Medium Italic Thermo 100 Series Thermo 200 Series Thermo 300 Series Tower Typo Roman Typo Roman Shaded Typo Script Typo Script Extended Typo Shaded Typo Slope Typo Upright Typo Upright Bold Ultra Bodoni Ultra Bodoni Condensed Ultra Bodoni Extra Condensed Ultra Bodoni Italic Venetian Venetian Bold Venetian Italic Wedding Text Wedding Text Shaded

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Benton

Century Schoolbook

Benton

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Century Schoolbook

Fuller

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Born in Milwaukee, Morris was greatly influenced by his father Linn Boyd Benton, who was a great typeface designer and inventor. Spending much time in the family home’s printing workshop, Morris learned to design and print tickets for local children’s music classes and for neighbor shows in his youth. He graduated from Cornell University with a degree in mechanical engineering, thriving in freehand drawing, mechanical drawing, and machine shop work. After the graduation, Morris immediately started his professional life at ATF (American Type Founders) in 1896, under his father who was one of the founders and director of ATF. He soon rose as the chief designer to ATF in 1900 and maintained his position until 1937, allowing the company to prosper in the early 20th century.

Card Bodoni Bold Card Litho Card Light Litho Card Mercantile Card Roman Century Bold Century Bold Condensed Century Bold Condensed Title Century Bold Extended Century Bold Italic Century Catalogue Century Catalogue Italic Century Expanded Century Expanded Italic Century Oldstyle Century Oldstyle Italic Century Oldstyle Bold Century Oldstyle Bold Italic Century Oldstyle Bold Condensed Century Schoolbook Century Schoolbook Italic Century Schoolbook Bold Cheltenham Bold Cheltenham Bold Black Outline Cheltenham Bold Condensed Cheltenham Bold Condensed Italic Cheltenham Bold Extra Condensed Cheltenham Bold Extra Condensed Title Cheltenham Bold Extended Cheltenham Bold Italic Cheltenham Bold Italic Shaded Cheltenham Bold Outline Cheltenham Bold Shaded Cheltenham Extrabold Cheltenham Extrabold Shaded Cheltenham Inline Cheltenham Inline Extended

Fuller

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Franklin Gothic

Morris

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Fuller

Franklin Gothic

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Morris

Morris Fuller Benton devoted his entire professional life to the American Type Founders Company alongside his father Linn Boyd Benton. Morris’ persevering motif of his creations was practicality. The Bentons did not identify themselves as artists, but instead as vessels that flawlessly carried the ideas of text. Morris extended the usefulness of type family in general by maximizing its functionality in printing industry. Always insisting on legibility and practicality to printers, Morris continued to refine his type designs and machines, which allowed the company to prosper economically; many of his types, including the revivals of historic type, were excellent sellers for ATF. Completing 221 typefaces in his lifetime, Morris was truly a remarkable typeface designer in history of typography and printing, who was profound in all areas commercially, practically, and artistically. As the chief designer of ATF, Morris was also involved in managing assistant designers and a type committee that determined the type preferences the market would support. He learned how to decipher the significance of trends in advertising types; he studied the market to decide what sort of face it demanded at the time, as his policy was not to flood the market with new and extraneous type designs. In the 1920s, Morris realized that the introduction of advertising agencies and typographers would bring a whole new perspective of type design. As the advertisement industry prospered, the demand for new and “exciting” typefaces grew, which eventually brought the age of display type. Morris designed original typefaces of his own, such as Franklin Gothic, Broadway, Eagle, and Hobo. His unique display type designs were both commercially and typographically successful.

The Bentons

Franklin Gothic

Morris

Pantographic Engraving Machine With the elder Benton’s invention of pantographic engraving or matrix-engraving machine, printing industry underwent a great shift in revelation as the mechanical age of typefounding imposed on the traditional making of types. Before the pantographic engraving machine, all punches and matrices of individual metal type were hand cut and hand casted by people. The level of craftsmanship and time put into each metal typeface was extremely high and demanding. Also, carefully made punches and matrices were always exposed to damage and deviation as their every handling demanded absolute delicacy and adeptness. However, the punch-cutting machine, which later became the pantographic engraving machine, paved way for the mechanical system of printing industry. Linn Boyd Benton perfected his invention through countless experiments and prototypes and finally eliminated the traditional intermediate process of making punches and electrotypes of metal cast altogether. The device could produce a perfectly fitted character that is directly cut into a blank nickel brass, which resulted in the making of a perfectly engraved matrix. As a master of the technology and engineering at the time, Morris worked on the machines and assisted his father in refining the models to perfection. The Bentons demanded and expected any deviation or error in the machines be within only two ten thousands of an inch, which is still an incredible level of precision even today.

Bank Gothic Condensed Light

Bank Gothic Bold

Bank Gothic Medium

Bank Gothic Light

Antique Shaded

Announcement Italic

Announcement Roman

American Text

American Caslon Italic

American Caslon

American Backslant

Alternate Gothic Title No.1

Alternate Gothic No.3

Alternate Gothic No.2

Alternate Gothic No.1

Agency Gothic Open

Agency Gothic

Adscript

Century Oldstyle Bold Condensed

Century Oldstyle Bold Italic

Century Oldstyle Bold

Century Oldstyle Italic

Century Oldstyle

Century Expanded Italic

Century Expanded

Century Catalogue Italic

Century Catalogue

Century Bold Italic

Century Bold Extended

Century Bold Condensed Title

Century Bold Condensed

Century Bold

Card Roman

Card Mercantile

Card Light Litho

Card Litho

Card Bodoni Bold

Cloister Bold

Cloister Oldstyle

Cloister Black

Clearface Italic

Clearface Heavy Italic

Clearface Heavy

Clearface Gothic

Clearface Bold Italic

Clearface Bold

Clearface

Civilite

Chic

Cheltenham Wide

Cheltenham Oldstyle Condensed

Cheltenham Monotone

Cheltenham Medium Expanded

Cheltenham Medium Condensed

Cheltenham Medium Italic

Cheltenham Medium

Cheltenham Inline Extra Condensed

Engravers Old English Bold

Engravers Old English

Light Hobo

Invitation Shaded

Shadow

Schoolbook Oldstyle

Rugged Roman

Roycroft

Rockwell Antique

Rialto

Raleigh Gothic Condensed

Stymie Bold Italic

Light Oldstyle

Stymie Light

Engravers Shaded

Stymie Light Italic

Souvenir

Stymie Medium

Lightline Gothic

Stymie Medium Italic

Engravers Text

Thermo 100 Series

Sterling

Miehle Extra Condensed Title

Thermo 200 Series

Lightline Title Gothic

Modernique

Thermo 300 Series

Franklin Gothic

Garamond Bold Italic

Monotone Gothic

Tower

Sterling Cursive

Garamond Italic

Monotone Title

Typo Roman

Lithograph Shaded

Garamond Open

News Gothic

Motto

Typo Roman Shaded

Lincoln

Globe Gothic

News Gothic Condensed

Typo Script

Franklin Gothic Condensed

Globe Gothic Bold

News Gothic Extra Condensed

Typo Script Extended

Franklin Gothic Condensed Shaded

Globe Gothic Bold Italic

News Gothic Extra Condensed Title

Typo Shaded

Stymie Black

Globe Gothic Condensed

Norwood Roman

Typo Slope

Louvaine Light

Globe Gothic Extended

Novel Gothic

Typo Upright

Franklin Gothic Extra Condensed

Globe Gothic Extra condensed

Othello

Typo Upright Bold

Stymie Black Italic

Goudy Bold

Packard

Ultra Bodoni

Stymie Bold

Goudy Bold Italic

Packard Bold

Ultra Bodoni Condensed

Louvaine Light Italic

Goudy Catalogue

Paramount

Ultra Bodoni Extra Condensed

Franklin Gothic Italic

Goudy Catalogue Italic

Parisian

Ultra Bodoni Italic

Louvaine Medium Italic

Goudy Extrabold

Pen Print Open

Venetian

Freehand

Goudy Extrabold Italic

Phenix

Venetian Bold

Louvaine Bold

Goudy Handtooled

Piranesi Bold

Venetian Italic

Gallia

Goudy Handtooled Italic

Piranesi Bold Italic

Louvaine Bold Italic

Goudy Title

Piranesi Bold Italic Plain Caps

Miehle Extra Condensed

Gravure

Piranesi Italic

Garamond Bold

Greeting Monotone

Piranesi Italic Plain Caps

Garamond

Grolier

Poster Gothic Wedding Text

Headline Gothic

Wedding Text Shaded

Invitation

Hobo

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221 typefaces of Morris Fuller Benton

Bank Gothic Condensed Medium

Century Schoolbook

Cloister Italic

Bank Gothic Condensed Bold

Cloister Lightface

Cloister Bold Italic

Cloister Lightface Italic

Century Schoolbook Italic

Cheltenham Bold Condensed Italic

Cloister Title

Baskerville Roman

Cheltenham Bold Extra Condensed

Commercial Script

Cloister Bold Condensed

Cheltenham Bold Extra Condensed Title

Copperplate Gothic Shaded

Century Schoolbook Bold

Bodoni Bold

Cheltenham Bold Extended

Cromwell

Baskerville Italic

Bodoni Bold Condensed

Cheltenham Bold Italic

Cushing Antique

Cloister Bold Title

Broadway

Cheltenham Bold Italic Shaded

Della Robbia Light

Cheltenham Bold

Broadway Condensed

Cheltenham Bold Outline

Dynamic Medium

Benton (Whitehall)

Broadway Nos.2 and 3

Cheltenham Bold Shaded

Eagle Bold

Cloister Cursive

Bulfinch Oldstyle

Cheltenham Extrabold

Engravers Bodoni

Cloister Cursive Handtooled

Bulmer Roman

Cheltenham Extrabold Shaded

Cheltenham Bold Black Outline

Bulmer Italic

Cheltenham Inline

Cheltenham Bold Condensed

Cambridge

Cheltenham Inline Extended

Bodoni Italic

Cambridge Italic

Bodoni

Card Bodoni

Century Schoolbook

Benton 20

Canterbury

Fuller

The final version was much more simpler and straightforward than the previous posters. I eliminated extraneous and unnecessary elements in order to enhance readability and clarity. The bright light teal was toned down and paired with the orange typeface names. Overall, the poster was much less imposing and easily approachable and read by the viewer. Throughout the process of refining my posters, I realized that organizing a massive amount of information into a compact form was very difficult. Both addition and deduction of necessary and unnecessary elements of design and information were significant steps in terms of completing this project.

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It is no less than a fact to say modern typefounding and printing exist today because of the Bentons’ innovations. Morris Fuller Benton and his father Linn Boyd Benton are two of the most underemphasized figures in history of typography. The Bentons’ contribution to type design and printing industry played the critical role of maximizing proficiency in producing types and prints. Born in Milwaukee, Morris was greatly influenced by his father Linn Boyd Benton, who was a great typeface designer and inventor. Spending much time in the family home’s printing workshop, Morris learned to design and print tickets for local children’s music classes and for neighbor shows in his youth. He graduated from Cornell University with a degree in mechanical engineering, thriving in freehand drawing, mechanical drawing, and machine shop work. After the graduation, Morris immediately started his professional life at ATF (American Type Founders) in 1896, under his father who was one of the founders and director of ATF. He soon rose as the chief designer to ATF in 1900 and maintained his position until 1937, allowing the company to prosper in the early 20th century. Morris Fuller Benton devoted his entire professional life to the American Type Founders Company alongside his father Linn Boyd Benton. Morris’ persevering motif of his creations was practicality. The Bentons did not identify themselves as artists, but instead as vessels that flawlessly carried the ideas of text. Morris extended the usefulness of type family in general by maximizing its functionality in printing industry. Always insisting on legibility and practicality to printers, Morris continued to refine his type designs and machines, which allowed the company to prosper economically; many of his types, including the revivals of historic type, were excellent sellers for ATF. Completing 221 typefaces in his lifetime, Morris was truly a remarkable typeface designer in history of typography and printing, who was profound in all areas commercially, practically, and artistically.

American Type Founders Morris spent his entire professional life at ATF as the core of the company’s design department. The policy of the company to not advertise the importance of individual employees is part of the reason Morris did not fully receive prominent recognition as a prolific typeface designer. Morris’ historic type revivals brought the old typefaces into light again for wider audience to read and utilize. His reworks of Garamond and Bodoni were the most popularly used and recognized at the time during the early 20th century. Not only did he commercialize and popularize such historic typefaces, but also developed and expanded existing faces such as Cheltenham and Century further by adding new variations in weights, which ultimately initiated the appreciation of the concept called type family. As the chief designer of ATF, Morris was also involved in managing assistant designers and a type committee that determined the type preferences the market would support. He learned how to decipher the significance of trends in advertising types; he studied the market to decide what sort of face it demanded at the time, as his policy was not to flood the market with new and extraneous type designs. In the 1920s, Morris realized that the introduction of advertising agencies and typographers would bring a whole new perspective of type design. As the advertisement industry prospered, the demand for new and “exciting” typefaces grew, which eventually brought the age of display type. Morris designed original typefaces of his own, such as Franklin Gothic, Broadway, Eagle, and Hobo. His unique display type designs were both commercially and typographically successful.

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Century

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Engravers Old English Bold

Engravers Old English

Light Oldstyle

Light Hobo

Invitation Shaded

Roycroft

Rockwell Antique

Rialto

Raleigh Gothic Condensed

Engravers Shaded

Franklin Gothic Condensed

Franklin Gothic

Louvaine Light

Lithograph Shaded

Lincoln

Lightline Title Gothic

Engravers Text

Franklin Gothic Condensed Shaded

Motto

Monotone Title

Monotone Gothic

Modernique

Miehle Extra Condensed Title

Miehle Extra Condensed

Louvaine Bold Italic

Louvaine Bold

Louvaine Medium Italic

Louvaine Light Italic

Franklin Gothic Extra Condensed

Franklin Gothic Italic

Freehand

Gallia

Garamond

Garamond Bold

Garamond Bold Italic

Garamond Italic

Garamond Open

Globe Gothic Bold

News Gothic

Globe Gothic

Globe Gothic Bold Italic

News Gothic Condensed

News Gothic Extra Condensed

Globe Gothic Condensed

Globe Gothic Extended

News Gothic Extra Condensed Title

Phenix

Pen Print Open

Parisian

Paramount

Packard Bold

Packard

Othello

Novel Gothic

Norwood Roman

Globe Gothic Extra condensed

Goudy Bold

Goudy Bold Italic

Goudy Catalogue

Goudy Catalogue Italic

Goudy Extrabold

Goudy Extrabold Italic

Goudy Handtooled

Goudy Handtooled Italic

Goudy Title

Gravure

Greeting Monotone

Grolier

Headline Gothic

Hobo

Invitation

Stymie Bold Italic Alternate Gothic No.1

Agency Gothic Open Stymie Bold

Stymie Black Agency Gothic

Adscript Sterling Cursive

Card Roman

Card Mercantile

Card Light Litho

Card Litho

Card Bodoni Bold

American Thermo 200 Backslant Series

Alternate Gothic Title No.1

Stymie MediumGothic No.3 Alternate

Century Bold Extended

Century Bold Condensed Title

Century Bold Condensed

Century Bold

Century Catalogue

Century Bold Italic

Caslon Italic

American Typo Roman

Typo Shaded Announcement Italic

Announcement Roman Typo Script Extended

Century Expanded Italic

Century Expanded

Century Catalogue Italic

Typo Upright Bank GothicBold Light

Century Oldstyle Italic

Century Oldstyle Ultra Bodoni

Bank Gothic Medium

Typo Upright

Typo Slope

Antique Shaded

Typo Script

Typo Roman Text Shaded American

Tower

Thermo 100 Series

Stymie Medium Italic

Thermo 300 Series American Caslon

Stymie Light Italic

Stymie Light

Stymie Black Italic

Alternate Gothic No.2

Sterling

Souvenir

221 typefaces of Schoolbook Oldstyle Morris Fuller Benton Shadow

Rugged Roman

Lightline Gothic

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Piranesi Italic Plain Caps

Piranesi Italic

Piranesi Bold Italic Plain Caps

Piranesi Bold Italic

Piranesi Bold

Bodoni Italic

Bodoni

Benton (Whitehall)

Baskerville Italic

Baskerville Roman Wedding Text Shaded

Venetian Italic Bank Gothic Condensed Bold

Bank Gothic Venetian Bold Condensed Medium

Bank Gothic Condensed Light

Bank Bold Ultra Gothic Bodoni Extra Condensed

Cheltenham Bold Condensed Italic

Cheltenham Bold Condensed

Cheltenham Bold Black Outline

Cheltenham Bold

Century Schoolbook Bold

Century Schoolbook Italic

Century Schoolbook

Century Oldstyle Bold Condensed

Century Oldstyle Bold Italic

Century Oldstyle Bold

Wedding Text

Venetian

Ultra Bodoni Italic

Bodoni Bold

Ultra Bodoni Condensed

Morris

were hand cut and hand casted by people. The Bodoni were the most popularly used and recoglevel of craftsmanship put the into each nizedand at thetime time during early 20th century. only did he commercialize and popularize metal typeface wasNot extremely high and demandsuch historic typefaces, but also developed and ing. Also, carefully made punches and expanded existing faces suchmatrices as Cheltenham Schoolbook andto Century further and by adding new variations in were always exposed damage deviation weights, which ultimately initiated the appreciaas their every handling absolute tion ofdemanded the concept called type family.delithe chief designer of ATF, Morris was also cacy and adeptness. AsHowever, the punch-cutting involved in managing assistant designers and a machine, which later became the pantographic type committee that determined the type preferthe market would support. He learned engraving machine,ences paved way for the mechanihow to decipher the significance of trends in cal system of printing industry. Linn Boyd Benton advertising types; he studied the market to perfected his invention experidecidethrough what sort ofcountless face it demanded at the time, as his policy was not to flood the market ments and prototypes and finally eliminated the with new and extraneous type designs. In the traditional intermediate of making 1920s, process Morris realized that the introduction of advertisingof agencies typographers punches and electrotypes metalandcast alto- would bring a whole new perspective of type design. As gether. The device could produce a perfectly the advertisement industry prospered, the for new cut and “exciting” typefaces grew, fitted character thatdemand is directly into a blank which eventually brought the age of display type. nickel brass, which Morris resulted in the making of a designed original typefaces of his own, such as Franklin Broadway, Eagle, and perfectly engraved matrix. As aGothic, master of the Hobo. His unique display type designs were both technology and engineering at the time, Morris commercially and typographically successful. worked on the machines and assisted his father in refining the models to perfection. The Bentons demanded and expected any deviation or error in the machines be within only two ten thousands of an inch, which is still an incredible level of precision even today.

type is culture food is culture

For this assignment, each student had to pick a local restaurant to reestablish its menu system. I picked Sura, a Korean and Japanese cuisine restaurant. For our first draft, I brought in four different versions of menu. I mainly focused on digitizing Sura’s plethora of dishes and organizing them in a more accessible way. Because there was so much information about so many dishes, I had difficulty in assorting everything both systematically and aesthetically.

For our second draft, I revised the previous versions of the menu. I tried to make the menus more different from each other in order to give a wide range of systems to the menu. There were variations of paper size, typeface, and overall layout of the spread. I did not want to integrate any extraneous ornamentation or decorative element yet because I prioritized typographical clarity and cohesiveness of the menu system.

After all the experimentations of compositional layout, I finally decided on one version of the menu that I thought to be the most clear and aesthetically pleasing typographical system. Then I made three more versions of this menu with a minimal decorative element, which is Sura’s logo.

Finally, I made a mock-up or sketch model of the menu and business card. I refined every detail of the typographical aspect of the menu; the leading, size and tracking of typefaces, placement of the prices, hierarchy, and clarity of the system were double checked to make sure everything was clean and easily readable. For my final version of the menu, I printed on Japanese paper and eliminated Suraâ&#x20AC;&#x2122;s rather complicated logo of the house; I simplified my business cards and decided to mainly utilize their circular Korean motif of the logo.

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My choice of the Japanese paper and Asian stab binding was to accentuate Sura’s Asian cuisine. I wanted to create an object that was both very practical and beautiful. Therefore, I minimalized the menu to rely on its typographical system and the material of itself. The logo added an element of visual entertainment, which supported the piece as a whole, but it was not the main “dish” of this menu. This menu was solely made to give the reader a clear and easily accessible information about the cuisine of the restaurant.

graphic design articles

Since we had touched upon only printing facet of graphic, we were given a series of graphic design articles and to organize and design them by creating a website. Before this assignment, we were given another mini exercise, when we had to make a website for two graphic design manifesto articles. However, for this follow-up assignment encouraged us to use more complex html and css codes. It helped us to really grasp how the coding worked through hierarchies and organizations.

This simple web design project was so much more informative than any other html/css classes that I had taken before. It gave me a new perspective of truly observing the web space and utilizing what is both functional and aesthetically pleasing. We also became more sensitive to details, in terms of leading and tracking of typography. All the hierarchy and composition that we had been taught countless times carried on to this project. Although the medium is completely different, the basic knowledge of typography and experience of reading applies to everything equally.

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type as a vehicle for form

As a graphic designer, it was a refreshing moment for me to get off the computer and actually work with physical materials to make a tangible object. We could use any medium to create an object that represented the word that we chose for the assigned sculpture artists. I found one common thread amongst the artists that I picked, which was “structure”. Instead of literally making the word letter by letter, I decided to portray the word abstractly. I made cross-sections and interlocking slits of paper in order to build a structure that was complex but architectural.

sculpture lecture series

This project was a continuation of Type as a Vehicle of Form. We chose four different sculptors to create a theoretical lecture series poster. Although the original prompt of this assignment was to make only one poster, I was not aware of that instruction. Thus, I resulted in making a series of four different posters for each sculptor that I picked. I wanted to emphasize the word structure, which I thought was a prominent theme in all oeuvres of the sculptors. The object was hand-cut by a x-acto knife and photographed on a cutting mat. I wanted to integrate the grids on the mat into the posters; by using the composition of the cutting mat and the objects, I was able to naturally incorporate the geometry with typography.

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Spring Lecture Series at the Rhode Island School of Design

to measure space, or time, The pieces in this show appear n, time is more significant. and now that I have two childre It has more weight. — Sze tension by dramatic teases balance and Sze’s sculptural work objects, which she space. All the found use of composition and e a mass of struccreat goes, where she has picked up every gly intricate. aneous and breathtakin tures that are both spont also exudes spatial bursts with energy, but Sze’s work not only e but to stop choic no with nce s the audie eleagance that leave tural mastery. and look at the sculp

Department of Sculpture 39

Spring Lecture Series at the Rhode Island School of Design

Wednesday February 20th 7pm RISD Auditorium 7 Canal Walk Providence RI 02903

Do-Ho Suh was born in Seoul, Korea in 1962. After earning his BFA and MFA in Oriental Painting from Seoul National University, and fulfilling his term of mandatory service in the South Korean military, Suh relocated to the United States to continue his studies at the Rhode Island School of Design and Yale University. Best known for his intricate sculptures that defy conventional notions of scale and site-specificity, Suh’s work draws attention to the ways viewers occupy and inhabit public space...Whether addressing the dynamic of personal space versus public space, or exploring the fine line between strength in numbers and homogeneity, Do-Ho Suh’s sculptures continually question the identity of the individual in today’s increasingly transnational, global society. — Art 21

Spring Lecture Series at the Rhode Island School of Design

De p Sc artm ul e pt nt ur o e f

Donald Judd With academic knowledge in philosophy and art history at the Arts Students League and Columbia University, Donald Judd developed and expanded the idea of minimalism through his work. From 1964 to 1966, Judd created forms of geometrical structures, which accentuated an impartial systematic idea that overrode conventional craftsmanship. The most used form of Judd’s work is the box, in which he places or attaches a series of the box to a wall reptitively in order to express its systematic progression. The geometrical structures or sculptural forms are often made of painted steel, iron, aluminum or laminated wood. In the 1970s, Judd started to enlarge the scale of his sculpture, and later in the 1980s, he produced many plain style of furniture that resemble the minimalism in his sculpture.

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the book

The final book was a conglomeration of all things that we had learned in Typography II. We were to typeset Lewis Carroll’s Alice’s Adventures in Wonderland. There was no specific instruction or limitation to how we make the book. I first experimented with the basic typographical structure of the text. Where should the headers and folios should be? How big should the text be and what typeface should it be? After deciding the book was going to be 5.5 in by 8 in, the font size, leading, and the placement of folios came naturally.

At first, I wanted to integrate illustrations that I would draw. However, with the advice of my professor, I was able to focus on a more typographical aspect of the book. Instead of inserting literal illustrations of the story throughout the book, I decided to add some illustrative elements on chapter title pages. Then an idea occurred; why not interpret Alice in Wonderland in my own way? My personal experience of Alice in Wonderland was not pleasant. As a child, I was frankly intimidated by the odd storyline and its eerie atmosphere. Therefore, I wanted to interpret and narrate Alice in Wonderland based on that odd and strange experience of my own.

As my main theme of the book was eeriness, I integrated black illustrative mark makings, which I drew with black ink and a fountain pen on paper. Then I scanned the drawings in to add the mark makings on the spreads. The black illustration would slowly creep into the pages as the story would progress. Throughout the book, Alice would get deeper and deeper into the world of Wonderland, where all sorts of strange things happen. Sometimes, quotes are isolated, repeated or blurred in order to emphasize the strangeness of the dialogue and the plot. As Alice would experience the strange events of her Wonderland, the black illustrations would keep growing and eventually take over the page. However, at the end when Alice would wake up from her dream, the black illustrations would suddenly vanish and the reader is only left with his or her own “dull reality”. Binding a book on my own was both a satisfying and a frustrating process. Though smite sewn books would

be more durable and long lasting, a great amount of deft craftsmanship was necessary in order to bind a book nicely. After a few trial and errors, I managed to achieve a satisfactory result of a hand bound book. In order to portray my own dark and eerie interpretation of Alice in Wonderland, I chose dull and bleak colors, such as black, grey, and dark green. The checker endsheets were used to reflect the texture of the linen Neenah paper, which I used for the book. The texture of the paper and the checkers echo very nicely throughout the book; thus I chose the endsheets to be the intro and outro of the book. The color of the dust jacket is slightly lighter olive green than the book cloth in order to give a slight contrast to the object as a whole. Also, I did not want to print the title of the book on the dust jacket because I thought it too literal; I wanted to keep the book very mysterious and somewhat monotonous to support its theme of eeriness.

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This book is set in 9pt. Akzidenz-Grotesk BQ Regular and is the process document of Jieun Tina Kim. All is designed and made by Jieun Tina Kim in Typography II Spring 2013 at Rhode Island School of Design.

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