AN ESSAY ON TYPOGRAPHY This is Eric Gill’s memorable and engaging dogmatic work on unchecked commercialism, moral living—oh, and typographic design too. This is where Gill firmly established what he believed type should be, what it should do, and how it should be done. I read Gill’s Essay cover to cover, then I read it again. It’s short, (133 pp. + intro & afterword) but quite enjoyable. The unassuming size of the book does not affect its flow as it is set in Gill’s own face, Joanna. Although the use of some odd contractions and word breaks may take a little warming up to, the book is a testament to book design and layout concerns as discussed in sections The Procrustean Bed and The Book. In the section entitled Lettering, Gill lends his views on letter form history and follows their evolution from Trajan’s Column in Rome to the printed page of the 1930’s with his own engravings presented to illustrate the walk-through. At times Gill is somewhat idealistic but many of the arguments he makes are timeless and most of his advice is practical—consisting of basic truths which will apply to the craft no matter what tools or level of technology are employed in the creation and implementation of letter forms. In Typography, a clear line is drawn between mechanized industry, seen as the work of many as opposed to fine craftsmanship, being the work of the individual. With his focus more on the social aspect of these ‘two worlds’ of typography, Gill explores and defines the limits inherent to each: “...the commercial article at its best is simply physically serviceable and, per accidens, beautiful in its efficiency; the work of art at its best is beautiful in its very substance and, per accidens, as serviceable as an article of commerce.” The exceptions to its usefulness are the occasional segue into what seems a little like preaching (this essay is thoroughly peppered with religious references) and some ideas he proposes, such as letter-spaced italics for emphasis, that have thankfully fallen by the typographic wayside. Or perhaps when he coyly proposes to abolish lettering as we know it in favor of what he calls “Phonography” (a form of shorthand), in But Why Lettering. I would equate this to today’s practice of flamebaiting onlineIn addition to its utilitarian function, type and typography are tools of expression that continue to evolve with both technology and culture. With the mass usage and dominance of type in our daily environments, it becomes obvious as to why there are so many typefaces available, and why more continue to be created. It is the human need for identification, differentiation and expression that provide fuel for the typography market — an industry which generates thousands of new typefaces every year. Advancements in technology only add fuel to this fire by making type more accessible and more dominant in our everyday lives. In his extensive book of typographic etiquette, Robert Bringhurst defines typography as “the craft of endowing human language with a durable visual form” (11). Bringhurst further defines that typography stands in the gap between writing and graphic design, but does not belong to either discipline. Typography is an art form in its own right. Similar to art movements and fashion styles that come and pass, the same trends of evolution are part of typography — both with typefaces and the usage of type. The letters of the alphabet can be combined into words, sentences, paragraphs, pages and volumes. These various combinations have meaning of their own — without regard to typography or typeface; however, it is with the additional meaning expressed through a particular typeface that an expanded meaning can be added. Karl Gerstner, a respected Swiss designer, asserts that, “in every typeface there is, irrespective of its purpose, a more or less independent aesthetic value of form, which in turn also has its own direct expressivity” (156). More than the literal words can be expressed through proper use of typography. Even simple changes in typeface, such as bold or italics, are so commonly used that little thought is given to the impact that is added. Just as the tone and tempo of voice influences the meaning of the spoken word; typography can influence the written word. This influence can be through the use of typography by alignment, spacing, or more easily by the typeface used. In the early days of typography, type was set with physical movable type. A word set in bold or italics came from a separate collection of type — in fact, it is still separated this way in digital type. However, this is rarely seen — as it is hidden behind button and keyboard-shortcuts. Regardless of the technology, bold and italic typefaces function as distinct typefaces with the intended purpose of adding additional emphasis; thus, changing the meaning without altering the words. How and why we use type has changed both because of technology and the influences of advertising and mass communication. As technology and culture advances, so do typefaces; “and, as with every technological and cultural development in the past 2000 years, type and typography reflect this” (Spiekermann 35). Digital typography, which started in the 1980s, greatly increased the pace at which new type was released. The rules of typography, which had been slowly evolving since Johann Gutenberg invented the printing press, were now rapidly evolving. Similar advancements can be seen in the way that digital equipment affected the music and video industries. New things were now possible, and the tools to create and use typography were becoming more available to the average person. The line between a professional and a hobbyist grew much thinner. However, the definition of typography has remained nearly the same. Modern typography is still a reflection of the alphabet. Concisely stated, “the alphabet is a series of visual signs in a fixed sequence, representing spoken sounds. Each letter signifies only one thing: its elementary sound or name. The twenty-six characters of our alphabet can be combined into thousands of words, creating a visual record of the spoken language.”
an essay on
typography This is Eric Gill’s memorable and engaging dogmatic work on unchecked commercialism, moral living—oh, and typographic design too. This is where Gill firmly established what he believed type should be, what it should do, and how it should be done. I read Gill’s Essay cover to cover, then I read it again. It’s short, (133 pp. + intro & afterword) but quite enjoyable. The unassuming size of the book does not affect its flow as it is set in Gill’s own face, Joanna. Although the use of some odd contractions and word breaks may take a little warming up to, the book is a testament to book design and layout concerns as discussed in sections The Procrustean Bed and The Book.
In the section entitled Lettering, Gill lends his views on letter form history and follows their evolution from Trajan’s Column in Rome to the printed page of the 1930’s with his own engravings presented to illustrate the walk-through. At times Gill is somewhat idealistic but many of the arguments he makes are timeless and most of his advice is practical—consisting of basic truths which will apply to the craft no matter what tools or level of technology are employed in the creation and implementation of letter forms. In Typography, a clear line is drawn between mechanized industry, seen as the work of many as opposed to fine craftsmanship, being the work of the individual. With his focus more on the social aspect of these ‘two worlds’ of typography, Gill explores and defines the limits inherent to each: “...the commercial article at its best is simply physically serviceable and, per accidens, beautiful in its efficiency; the work of art at its best is beautiful in its very substance and, per accidens, as serviceable as an article of commerce.” The exceptions to its usefulness are the occasional segue into what seems a little like preaching (this essay is thoroughly peppered with religious references) and some ideas he proposes, such as letter-spaced italics for emphasis, that have thankfully fallen by the typographic wayside. Or perhaps when he coyly proposes to abolish lettering as we know it in favor of what he calls “Phonography” (a form of shorthand), in But Why Lettering. I would equate this to today’s practice of flame-baiting onlineIn addition to its utilitarian function, type and typography are tools of expression that continue to evolve with both technology and culture. With the mass usage and dominance of type in our daily environments, it becomes obvious as to why there are so many typefaces available, and why more continue to be created. It is the human need for identification, differentiation and expression that provide fuel for the typography market — an industry which generates thousands of new typefaces every year. Advancements in technology only add fuel to this fire by making type more accessible and more dominant in our everyday lives. In his extensive book of typographic etiquette, Robert Bringhurst defines typography as “the craft of endowing human language with a durable visual form” (11). Bringhurst further defines that typography stands in the gap between writing and graphic design,
but does not belong to either discipline. Typography is an art form in its own right. Similar to art movements and fashion styles that come and pass, the same trends of evolution are part of typography — both with typefaces and the usage of type.
The letters of the alphabet can be combined into words, sentences, paragraphs, pages and volumes. These various combinations have meaning of their own — without regard to typography or typeface; however, it is with the additional meaning expressed through a particular typeface that an expanded meaning can be added. Karl Gerstner, a respected Swiss designer, asserts that, “in every typeface there is, irrespective of its purpose, a more or less independent aesthetic value of form, which in turn also has its own direct expressivity” (156). More than the literal words can be expressed through proper use of typography. Even simple changes in typeface, such as bold or italics, are so commonly used that little thought is given to the impact that is added. Just as the tone and tempo of voice influences the meaning of the spoken word; typography can influence the written word. This influence can be through the use of typography by alignment, spacing, or more easily by the typeface used. In the early days of typography, type was set with physical movable type. A word set in bold or italics came from a separate collection of type — in fact, it is still separated this way in digital type. However, this is rarely seen — as it is hidden behind button and keyboard-shortcuts. Regardless of the technology, bold and italic typefaces function as distinct typefaces with the intended purpose of adding additional emphasis; thus, changing the meaning without altering the words. How and why we use type has changed both because of technology and the influences of advertising and mass communication. As technology and culture advances, so do typefaces; “and, as with every technological and cultural development in the past 2000 years, type and typography reflect this” (Spiekermann 35). Digital typography, which started in the 1980s, greatly increased the pace at which new type was released. The rules of typography, which had been slowly evolving since Johann Gutenberg invented the printing press, were now rapidly evolving. Similar advancements can be seen in the way that digital equipment affected the music and video industries. New things were now possible, and the tools to create and use typography were becoming more available to the average person. The line between a professional and a hobbyist grew much thinner. However, the definition of typography has remained nearly the same. Modern typography is still a reflection of the alphabet. Concisely stated, “the alphabet is a series of visual signs in a fixed sequence, representing spoken sounds. Each letter signifies only one thing: its elementary sound or name. The twenty-six characters of our alphabet can be combined into thousands of words, creating a visual record of the spoken language.”
AN ESSAY ON TYPOGRAPHY This is Eric Gill’s memorable and engaging dogmatic work on unchecked commercialism, moral living—oh, and typographic design too. This is where Gill firmly established what he believed type should be, what it should do, and how it should be done. I read Gill’s Essay cover to cover, then I read it again. It’s short, (133 pp. + intro & afterword) but quite enjoyable. The unassuming size of the book does not affect its flow as it is set in Gill’s own face, Joanna. Although the use of some odd contractions and word breaks may take a little warming up to, the book is a testament to book design and layout concerns as discussed in sections The Procrustean Bed and The Book.
IN
the section entitled Lettering, Gill lends his views on letter form history and follows their evolution from Trajan’s Column in Rome to the printed page of the 1930’s with his own engravings presented to illustrate the walk-through. At times Gill is somewhat idealistic but many of the arguments he makes are timeless and most of his advice is practical—consisting of basic truths which will apply to the craft no matter what tools or level of technology are employed in the creation and implementation of letter forms. In Typography, a clear line is drawn between mechanized industry, seen as the work of many as opposed to fine craftsmanship, being the work of the individual. With his focus more on the social aspect of these ‘two worlds’ of typography, Gill explores and defines the limits inherent to each: “...the commercial article at its best is simply physically serviceable and, per accidens, beautiful in its efficiency; the work of art at its best is beautiful in its very substance and, per accidens, as serviceable as an article of commerce.” The exceptions to its usefulness are the occasional segue into what seems a little like preaching (this essay is thoroughly peppered with religious references) and some ideas he proposes, such as letter-spaced italics for emphasis, that have thankfully fallen by the typographic wayside. Or perhaps when he coyly proposes to abolish lettering as we know it in favor of what he calls “Phonography” (a form of shorthand), in But Why Lettering. I would equate this to today’s practice of flame-baiting onlineIn addition to its utilitarian function, type and typography are tools of expression that continue to evolve with both technology and culture. With the mass usage and dominance of type in our daily environments, it becomes obvious as to why there are so many typefaces available, and why more continue to be created. It is the human need for identification, differentiation and expression that provide fuel for the typography market — an industry which generates thousands of new typefaces every year. Advancements in technology only add fuel to this fire by making type more accessible and more dominant in our everyday lives. In his extensive book of typographic etiquette, Robert Bringhurst defines typography as “the craft of endowing human language with a durable visual form” (11). Bringhurst further defines that typography stands in the gap between writing and graphic design, but does not belong to either discipline. Typography is an art form in its own right. Similar to art movements and fashion styles that come and pass, the same trends of evolution are part of typography — both with typefaces and the usage of type. The letters of the alphabet can be combined
into words, sentences, paragraphs, pages and volumes. These various combinations have meaning of their own — without regard to typography, or typeface; however, it is with the additional meaning expressed through a particular typeface that an expanded meaning can be added. Karl Gerstner, a respected Swiss designer, asserts that, “in every typeface there is, irrespective of its purpose, a more or less independent aesthetic value of form, which in turn also has its own direct expressivity” (156). More than the literal words can be expressed through proper use of typography. Even simple changes in typeface, such as bold or italics, are so commonly used that little thought is given to the impact that is added. Just as the tone and tempo of voice influences the meaning of the spoken word; typography can influence the written word. This influence can be through the use of typography by alignment, spacing, or more easily by the typeface used. In the early days of typography, type was set with physical movable type. A word set in bold or italics came from a separate collection of type — in fact, it is still separated this way in digital type. However, this is rarely seen — as it is hidden behind button and keyboard-shortcuts. Regardless of the technology, bold and italic typefaces function as distinct typefaces with the intended purpose of adding additional emphasis; thus, changing the meaning without altering the words. How and why we use type has changed both because of technology and the influences of advertising and mass communication. As technology and culture advances, so do typefaces; “and, as with every technological and cultural development in the past 2000 years, type and typography reflect this” (Spiekermann 35). Digital typography, which started in the 1980s, greatly increased the pace at which new type was released. The rules of typography, which had been slowly evolving since Johann Gutenberg invented the printing press, were now rapidly evolving. Similar advancements can be seen in the way that digital equipment affected the music and video industries. New things were now possible, and the tools to create and use typography were becoming more available to the average person. The line between a professional and a hobbyist grew much thinner. However, the definition of typography has remained nearly the same. Modern typography is still a reflection of the alphabet. Concisely stated, “the alphabet is a series of visual signs in a fixed sequence, representing spoken sounds. Each letter signifies only one thing: its elementary sound or name. The twenty-six characters of our alphabet can be combined into thousands of words, creating a visual record of the spoken language.”