The Art of Typography
PortFolio Eva Wu ·
Motion Graphic Designer ·
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TABLE OF CONTENTS
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4 Logo Design 6 Designer Intro 8 Character Study sketches 18 typographical terms 20
24 logo Development 34 typographer and musuem 38 ubiquitous type Report 58 pop! project 68 bauhaus report
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logo Design
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Eva Wu
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designer intro
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va Wu is a digital media student at Fashion institute of merchandising and design. She took typography in her second quarter, which brought up her artistic horizon. She used to do a lot of typography design at her previous jobs without understanding the meanings and feelings behind all kinds of fonts and the layouts, but now she comes to realize that it is more interesting than ever when she gains knowledge about typography. This class really opens a window of another fantastic world of typography to her. Typography has its own voice that leads, guides, and even controls the viewer’s feeling about an art piece. It’s magical that how the kerning and leading could have huge affects on the viewers. After taking this class she is ready to create some fantastic art work.
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Character study
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character study the letter G
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enerally speaking, there are no launch dates for the letters of our alphabet. For the most part they’ve come down to us through an evolutionary process, with shapes that developed slowly over a long period of time. The G, however, is an exception. In fact, our letter G made its official debut in 312 B.C.
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Of course, the story begins a bit earlier than that. The Phoenicians, and the other Semitic peoples of Syria, used a simple graphic form that looked roughly like an upside-down V to represent the consonant ‘g’ sound (as in “go”). They named the form gimel, which was the Phoenician word for camel. Some contend this was because the upsidedown V looked like the hump of a camel.
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Giambattista
Bodoni Giambattista Bodoni was an Italian graphic designer and typographer. He was also worked as typedesigner, compositor, publisher and printer. His type designs were modeled after Pierre Simon Fournier’s typeface but later felt inspired by the typography of John Baskerville. With the help of an associate he evolved the type called ‘New Face’
On February 16, 1740, Giambattista Bodoni was born at Saluzzo in Savoy. The printmaking skill ran in the family as his father and grandfather were in the same trade. For some time he worked as an apprentice in the Roman Catholic Church’s Propaganda Fide printing house. His superiors were highly impressed by his meticulous work and studiousness in mastery of ancient languages and types. That allowed him to produce his first book
based on a version of the Tibetan alphabet, Coptic Missal. In the construction of pseudoclassical typefaces Bodoni became a chief figure Subsequent to Bodoni’s recuperation from malaria, the Duke Ferdinando of Bourbon-Parma sought his skills to mount a printing house in Parma, in 1768. The printing house was to be one of the greatest in Italy named la Stamperia Reale. His job entailed publicizing the house and for that purpose he created specimen book
which resulted in success. His book titled Descrizione Delle Feste Celebrate In Parma L’Anno MDCCLXIX, was the first one in the long line of books he published. Shortly afterwards the publishing house began to produce the fine editions of classical and respected works, for instance, Gerusalemme Liberata of Torquato Tasso and Homer’s literary work. As result of these publications, Bodoni won the public’s favour and eventually opened his own publishing house called
character study the letter A
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o one knows why ‘A’ is the first letter of our alphabet. Some think it’s because this letter represents one of the most common vowel sounds in ancient languages of the western hemisphere. Other sources argue against this theory because there were no vowel sounds in the Phoenician language. (The Phoenician alphabet is generally thought to be the basis of the one we use today.) No one also knows why the ‘A’ looks the way it does, but we can construct a fairly logical chain of events.
B
Some say the Phoenicians chose the head of an ox to represent the ‘A’ sound (for the Phoenicians, this was actually a glottal stop). The ox was a common, important animal to the Phoenicians. It was their main power source for heavy work. Oxen plowed the fields, harvested crops, and hauled food to market. Some sources also claim that the ox was often the main course at meals. A symbol for the ox would have been an important communication tool for the Phoenicians. It somewhat naturally follows that an ox symbol would be the first letter of the alphabet.
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Joh acc fro des Joh fon da infl in
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Baskerville
hn Baskerville (1706-1775) was an complished writing master and printer om Birmingham, England. He was the signer of several types, punchcut by hn Handy, which are the basis for the nts that bear the name Baskerville toay. The excellent quality of his printing fluenced such famous printers as Didot France and Bodoni in Italy.
character study the exclaimation point
I
n the seventeenth and eighteenth centuries, quotation marks, the apostrophe, the dash, and the exclamation point were added to the basic set of punctuation marks in consistent use. The initial configuration of the exclamation point, which is descended from a logotype for the Latin word io (“joy”), was a capital I set over a lowercase ’o’. As with the question mark, the design of the exclamation point was gradually streamlined to its present form. Our repertoire of punctuation continues to expand. As recently as the 1960s, a new mark called the interrobang was proposed. A ligature of the exclamation point and question mark, the interrobang would serve as a way to punctuate sentences like, “You did what?!”
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Giambattista
Bodoni Giambattista Bodoni was an Italian graphic designer and typographer. He was also worked as type-designer, compositor, publisher and printer. His type designs were modeled after Pierre Simon Fournier’s typeface but later felt inspired by the typography of John Baskerville. With the help of an associate he evolved the type called ‘New Face’ On February 16, 1740, Giambattista Bodoni was born at Saluzzo in Savoy. The printmaking skill ran in the family as his father and grandfather were in the same trade. For some time he worked as an apprentice in the Roman Catholic Church’s Propaganda Fide printing house. His superiors were highly impressed by his meticulous work and studiousness in mastery of ancient languages and types. That allowed him to produce his first book based on a version of the Tibetan alphabet, Coptic Missal. In the construction of pseudoclassical typefaces Bodoni became a chief figure Subsequent to Bodoni’s recuperation from malaria, the Duke Ferdinando of Bourbon-Parma sought his skills to mount a printing house in Parma, in 1768. The
printing house was to be one of the greatest in Italy named la Stamperia Reale. His job entailed publicizing the house and for that purpose he created specimen book which resulted in success. His book titled Descrizione Delle Feste Celebrate In Parma L’Anno MDCCLXIX, was the first one in the long line of books he published. Shortly afterwards the publishing house began to produce the fine editions of classical and respected works, for instance, Gerusalemme Liberata of Torquato Tasso and Homer’s literary work. As result of these publications, Bodoni won the public’s favour and eventually opened his own publishing house called Officina Bodoni.
character study the letter Z
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he twenty-sixth letter of our alphabet was the seventh letter in the Semitic alphabet. They called the letter “za” (pronounced “zag”) and drew it as a stylized dagger. The Phoenicians used roughly the same graphic sign, which they called “zayin” and which also meant a dagger or weapon. A similar symbol turns up in various other cultures, all having the same meaning. Around 1000 B.C. the Phoenician zayin became the Greek “zeta.” The Greek character looked more like a dagger than the zayin did, but it didn’t bear much resemblance to the Z we currently use. In fact, it looked a lot like our present capital I (especially as set in ITC Lubalin Graph, or another slab serif typeface). The Romans adopted the zeta into their alphabet, but since the sound was not used in the Latin language the letter was eventually dropped, and the position of the seventh letter was given to the G. In fact, the Z might never have made it into our present-day alphabet, if not for a few stray Greek words that were incorporated into the Roman language after the Romans conquered the Greeks. In order to write these words a Z was required, and so, several centuries after it was first banished from the Roman alphabet, the Z was allowed to return. However, because the letter was not a part of the traditional Roman language, the Z was relegated to the last spot in the alphabetical hierarchy. The Romans used the capital I form of the letter in their monumental inscriptions, but there are none to be found in the famous Trajan Column (since there are no Greek words inscribed there). It was only when the letter was written by scribes and calligraphers that the top and bottom strokes were offset from each other and connected by what became a diagonal, rather than vertical, stroke. The reason for this design change? Probably because it was quicker and easier to write. The lowercase ‘z’ is simply a smaller version of the capital, no doubt for the same reason.
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Sketches
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TYpograph terms
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Terms illustrated Calligraphy
Calligraphy (from Greek: καλλιγραφία) is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, brush, or other writing instruments. 17 A contemporary calligraphic practice can be defined as “the art of giving form to signs in an expressive, harmonious, and skillful manner”Modern calligraphy ranges from functional inscriptions and designs to fine-art pieces where the letters may or may not be readable.[1][page needed] Classical calligraphy differs from typography and non-classical hand-lettering, though a calligrapher may practice both.
Cursive Blackletter
(sometimes black letter), also known as Gothic script, Gothic minuscule, or Textura, was a script used throughout Western Europe from approximately 1150 to well into the 17th century. It continued to be used for the Danish language until 1875, and for German and Latvian until the 20th century. Fraktur is a notable script of this type, and sometimes the entire group of blackletter faces is incorrectly referred to as Fraktur. Blackletter is sometimes referred to as Old English, but it is not to be confused with the old english language (or Anglo-Saxon), which predates blackletter by many centuries and was written in the insular script or in Futhorc.
(also known as script or longhand, among other names) is any style of penmanship in which some characters are written joined together in a flowing manner, generally for the purpose of making writing faster. Formal cursive is generally joined, but casual cursive is a combination of joins and pen lifts. The writing style can be further divided as “looped”, “italic” or “connected”.
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Drop cap
typography A large initial letter that drops below the first line of a paragraph, usually used at the beginning of a section or chapter of a book.
Serif
Hairline Rule
In typography, a very thin rule line typically less than one-half point wide. On some output devices, the hairline rule is as thin as the smallest printer spot the device can image. On 600 ppi laser printers, the hairline rule is effective; however, on high-resolution (2400+ ppi) imagesetters, it can be essentially invisible. PORFOLIO
Tracking
In typography, letter-spacing, also referred to as tracking by typographers working with pre-WYSIWYG digital systems, refers to an optically consistent degree of increase (or sometimes decrease) of space between letters to affect visual density in a line or block of text.
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in typography, a serif is a small line or stroke regularly attached to the end of a larger stroke in a letter or symbol within a particular font or family of fonts. A typeface or “font family” making use of serifs is called a serif typeface (or serifed typeface), and a typeface that does not include them is a sans-serif one. Some typography sources refer to sans-serif typefaces as “grotesque” (in German, “grotesk”) or “Gothic”, and serif typefaces as “roman”.
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Display type
display typeface is a typeface that is intended for use at large sizes for headings, rather than for extended passages of body text. Display typefaces will often have more eccentric and variable designs than the simple, relatively restrained typefaces generally used for body text. They may take inspiration from other genres of lettering, such as handpainted signs, calligraphy or an aesthetic appropriate to their use, perhaps ornamented, exotic, abstracted or drawn in the style of a different writing system.
E Dingbat
In typography, a dingbat (sometimes more formally known as a printer’s ornament or printer’s character) is an ornament, character, or spacer used in typesetting, often employed for the creation of box frames (similar to box-drawing characters). The term continues to be used in the computer industry to describe fonts that have symbols and shapes in the positions designated for alphabetical or numeric characters. EVA WU
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Egyptian font
In typography, a slab serif (also called mechanistic, square serif, antique or Egyptian) typeface is a type of serif typefacecharacterized by thick, block-like serifs. ... Slab serifs were invented in and most popular during the nineteenth century.
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Distressed Didone
Didone is a genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the nineteenth. It is characterized by: Narrow and unbracketed (hairline) serifs. (The serifs have a nearly constant width along their length.)
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Fractions
Fractions can be a regularly occurring element in text. They are routinely used in text for measurements and dimensions, recipes, math and science notation, as well as in manuals and other technical documentation. Fractions can be represented in several ways: spelled out, using decimals, by diagonal or slashed fractions, by stacked or nut fractions, or by horizontal fractions. Knowing which form to use and how to locate or create numerical fractions is key to creating the most visually pleasing typography.
Reversed
Decorative
This is the largest category and also the most diverse. Rarely used for lengthy blocks of text, decorative typefaces are popular for signage, headlines and similar situations were a strong typographic statement is desired. They frequently reflect an aspect of culture – such as tattoos or graffiti – or evoke a particular state of mind, time period or theme. Many – such as psychedelic or grunge designs – are time-sensitive and fall out of fashion. Some decorative typefaces use unorthodox letter shapes and proportions to achieve distinctive and dramatic results. Some even appear three-dimensional.
Distressed typefaces cover a lot of ground. Some replicate the irregular contours of brush strokes and other writing implements. Others capture the organic texture of parchment and stone, or approximate the low-tech look of woodcuts, stencils and rubber stamps.
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Wood type
wood has been used for letterforms and illustrations dating back to the first known Chinese wood block print from 868 CE. The forerunner of the block print in China was the wooden stamp. The image on these stamps was most often that of the Buddha, and was quite small. Provided with handles to facilitate their use, they were not unlike the modern rubber-stamps of today. In Europe, large letters used in printing were carved out of wood because large metal type had a tendency to develop uneven surfaces, or crack, as it cooled.
Reversed type” is simply a light colored typeface printed or otherwise set against a dark background, like white text on a black background. It’s often easier for your printer to simply print the dark background surrounding the lighter colored type, especially if your type is white or the same color as your paper. That’s why reversed type is also called “knocked out” type – as if the unprinted type were knocked out from its dark background.
&
Ampersand
The word ampersand is a corruption of the phrase “and per se & (and)”, meaning “and by itself and (represented by the symbol &)”.
Raised cap
Raised cap A design style in which the first. capital letter of a paragraph is set in a large point size and aligned with the baseline of the first line of text. Compare to a drop cap.
ligature
Two or more letters are joined together to form one glyph or character. Definition: Two or more letters combined into one character make a ligature. Intypography some ligatures represent specific sounds or words such as the AE or æ diphthong ligature.
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Bauhaus report
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Bauhaus What’s Bauhaus?
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he Staatliches Bauhaus, commonly known as the Bauhaus, was a German art school operational from 1919 to 1933 that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. The Bauhaus was founded by Walter Gropius in Weimar. The German term Bauhaus— literally “building house”—was understood as meaning “School of Building”, but in spite of its name and the fact that its founder was an architect, the Bauhaus did not have an architecture department during its first years of existence. Nonetheless, it was founded with the idea of creating a “total” work of art in which all arts, including architecture, would eventually be brought together. The Bauhaus style later became one of the most influential currents in modern design, Modernist architecture and art, design and architectural education.The Bauhaus had a profound influence upon subsequent developments in art, architecture,
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graphic design, interior design, industrial design, and typography.The school existed in three German cities: Weimar from 1919 to 1925, Dessau from 1925 to 1932, and Berlin from 1932 to 1933, under three different architect-directors: Walter Gropius from 1919 to 1928, Hannes Meyer from 1928 to 1930, and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime, having been painted as a centre of communist intellectualism. Although the school was closed, the staff continued to spread its idealistic precepts as they left Germany and emigrated all over the world. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For example, the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.
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he paradox of the early Bauhaus was that, although its manifesto proclaimed that the aim of all creative activity was building,[26] the school did not offer classes in architecture until 1927. During the years under Gropius (1919–1927), he and his partner Adolf Meyer observed no real distinction between the output of his architectural office and the school. So the built output of Bauhaus architecture in these years is the output of Gropius: the Sommerfeld house in Berlin, the Otte house in Berlin, the Auerbach house in Jena, and the competition design for the Chicago Tribune Tower, which brought the school much attention. The definitive 1926 Bauhaus building in Dessau is also attributed to Gropius. Apart from contributions to the 1923 Haus am Horn, student architectural work amounted to unbuilt projects, interior finishes, and craft work like cabinets, chairs and pottery.
School) in Bernau bei Berlin. Meyer’s approach was to research users’ needs and scientifically develop the design solution. Mies van der Rohe repudiated Meyer’s politics, his supporters, and his architectural approach. As opposed to Gropius’s “study of essentials”, and Meyer’s research into user requirements, Mies advocated a “spatial implementation of intellectual decisions”, which effectively meant an adoption of his own aesthetics. Neither Mies van der Rohe nor his Bauhaus students saw any projects built during the 1930s. The popular conception of the Bauhaus as the source of extensive Weimar-era working housing is not accurate. Two projects, the apartment building project in Dessau and the Törten row housing also in Dessau, fall in that category, but developing worker housing was not the first priority of Gropius nor Mies. It was the Bauhaus contemporaries Bruno Taut, Hans Poelzig and particularly Ernst May, as the city architects of Berlin, Dresden and Frankfurt respectively, who are rightfully credited with the thousands of socially progressive housing units built in Weimar Germany. The housing Taut built in south-west Berlin during the 1920s, close to the U-Bahn stop Onkel Toms Hütte, is still occupied.
Bauhaus Architecture
In the next two years under Meyer, the architectural focus shifted away from aesthetics and towards functionality. There were major commissions: one from the city of Dessau for five tightly designed “Laubenganghäuser” (apartment buildings with balcony access), which are still in use today, and another for the Bundesschule des Allgemeinen Deutschen Gewerkschaftsbundes (ADGB Trade Union
Bauhaus Bauhaus Bauhaus PORFOLIO
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he Bauhaus School taught typography, and they were strong advocates of sans-serif type, as they believed that its simplified geometric form was more appealing and useful than the ornate German standard of blackletter typography. Bauhaus style of typography is effective in conveying the message of the design. Balanced layout, harmonious geometric shapes, vibrant colors, and sans-serif letters in upper case or lower case fonts are simple but strong. Bauhaus layout was
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not only horizontal and vertical, but angled as well, or wrapped around objects. The influence on the modern day posters and designs is evident, as you can see the legacy of the German school on various book and album covers, as well as political posters and signs. One of the most notable examples is the poster for Barack Obama’s presidential campaign, heavily influenced by its German predecessor. So, if you want to see some of the fine examples of Bauhaus typography, scroll down and enjoy the simplicity and power of these works.
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Herbert Bayer
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erbert Bayer was the school’s first master of typography. His participation in the movement led to his invention of a Bauhaus style font, called Universal.
It was an incomplete work that was finished in 1969 to create the font entitled “Bauhaus”. The simplicity of the font supported the ideals of the Bauhaus. It’s lack of serifs, so different from the common German Fraktur typeface, was perfectly in line with ‘form over function.’
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But the school also focused on the utopian principle of excellent design that was accessible to all. This font’s defection from the difficult-toread Fraktur font (which historically privileged the elite), made it more practical for the use of the whole of society. The font’s original title, Universal, was meant to underline this point.
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TYPOGRAPHY
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TYpogra pher and moct museum report PORFOLIO
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Museum of Contempory Typography present the works of
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MUSEUM OF CONTEMPORARY TYPOGRAPHY
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Herbert Bayer
Herbert Bayer
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INTRO
MOCT INTRO
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erbert B who util typeface is characterized b developed from h influential Bauha Moholy-Nagy. H geometric shape ing designs for co born on April 5, encouraged his a went on to becom in Berlin in 1928 the Third Reich’ Shortly thereafte and moved to Ne work can found i Visual Arts Cent September 30, 19
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Bayer was an Austrian designer and artist lized various media to create dynamic es, paintings, and architecture. His work by its Minimalist and crisp aesthetic, his time studying at Walter Gropius’ aus school under Paul Klee and László He would go on to use his knowledge of integration to create aesthetically pleasontemporary advertisements. Bayer was 1900 in Haag, Austria to parents who artistic growth throughout his youth. He me an art director for Vogue magazine 8, and designed tourist pamphlets for ’s hosting of the 1936 Olympic Games. er, he was labeled a “degenerate artist” ew York, fleeing the Nazi regime. Bayer’s in permanent collection of the MIT List ter, among other institutions. He died on 985 in Montecito, CA.
Intro
Herbe Baye Wor A
rtistic polymath Herbert Bay influential students, teachers integration of all arts throug studies as an architect in 1919 in Da attended the Bauhaus in Weimar, stu Kandinsky and typography, creating consisting of only lowercase letters th font of the Bauhaus. Bayer returned (moving in 1926 to Dessau, its secon of advertising, design, and typograp graphic compositions.
He began making his own photograp Bauhaus; however, in his years as a t ground for the New Vision photogra close colleague László Moholy-Nagy his Bauhaus publication Malerei, Ph tography, film). Most of Bayer’s phot 1928–38, when he was based in Berl They represent his broad approach t architecture and carefully crafted mo
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yer was one of the Bauhaus’s most s, and proponents, advocating the ghout his career. Bayer began his armstadt. From 1921 to 1923 he udying mural painting with Vasily g the Universal alphabet, a typeface hat would become the signature d to the Bauhaus from 1925 to 1928 nd location), working as a teacher phy, integrating photographs into
phs in 1928, after leaving the teacher the school was a fertile aphy passionately promoted by his y, Moholy-Nagy’s students, and hotographie, Film (Painting, photographs come from the decade lin working as a commercial artist. to art, including graphic views of ontages.
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ayer designed the type used in the signage at the Bauhaus building in Dessau
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ayer was at the Bau range of sculpture, typog chitecture. In his studied painting short while he w haus’ first classes of work that he was more notab careers of work. Bauhaus, workin Container Corp both Germany a EVA WU
both a student and a teacher uhaus and worked in a wide fields including painting, raphy, advertising and ars early years as a student he g with Kandinsky, but in just a was teaching one of the Baus on typography. The amount created before he was 28 ble than most designers entire . He spent time teaching at the ng as an Art Director for the poration and as an architect in and America.
Bauhaus and Herbert Bayer
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erbert Bayer created the Bauhaus’ typographic iden tinue our Bauhaus 100 series celebrating the school’ explore how the Austrian designer’s lettering becam with the school. True to form, perhaps the most mythic typef out of the Bauhaus, Universal, was one that strove to be as id school itself. The inclusion of an upper case was deemed unn being, among other things, a waste of time in both the produ of typewriters. Serifs too were abandoned in pursuit of some as architecture’s International Style.
Bauhaus style of typography is effective in conveying the mes design. Balanced layout, harmonious geometric shapes, vibra sans-serif letters in upper case or lower case fonts are simple Bauhaus layout was not only horizontal and vertical, but ang wrapped around objects. The influence on the modern day p signs is evident, as you can see the legacy of the German sch book and album covers, as well as political posters and signs.
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Font
ntity. As we con’s centenary, we me synonymous face to come dealistic as the necessary – it uction and use ething as crisp
ssage of the ant colors, and but strong. gled as well, or posters and dehool on various
A TYPOGRAPHICAL INTRODUCTION
Type is everywhere – street signs, magazines, the web. Every typeface you see around you has been painstakingly and carefully planned out, and each has its own personality and vibe. But
have you ever stopped to wonder how the typefaces we encounter everyday came to be? Who invented them, and why? If you’re interested in learning more about typography, you’ve come to the right place.
William Caslon created a typeface which features straighter serifs and much more obvious contrasts between thin and bold strokes. Today, we call this type style ‘old style’.
Nicolas Jenson created Roman Type, inspired by the text on ancient roman buildings. It was far more readable than blackletter, and caught on quickly.
Firmin Didot and G Bodoni created the Roman typefaces ( Bodoni). The contr extreme than ever created a very coo
Jenson [Roman]
1400
Guttenberg invented movable typefaces, giving the world a cheaper way to obtain the written word. Up until this point, all written materials were done by hand, and were very costly to purchase. Guttenburg also created the first typeface, blackletter – it was dark, fairly practical, and intense, but not very legible.
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a [Italics]
Italics begin to be used as way to fit more words onto a page, saving the printer money. Today, we use italics as a design detail or for emphasis when writing.
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[Did
1757
1501
1470
[Black letter]
[Big Calson]
1734
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[Baskerville]
John Baskerville created what we now call Transitional type, a Roman-style type, with very sharp serifs and lots of drastic contrast between thick and thin lines.
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hat’s the difference between a typeface and a font? Before you jump in, let’s clarify the terminology used. Typography is the art of creating the letters we use everyday. It’s designing them and creating them and making them real. A font is a collection or set of letters – they’re the mechanism you use to get your message across to your reader. Every letter and dash and semi colon would be considered part of a specific font. A typeface is the design you see – the style and look of a specific font. Throughout history, typefaces have been influenced by technological advances, culture shifts, and just general boredom with the state of typography. Here’s how it all went down:
TERMINOLOGY EXPLAINED
Swiss designer Max Miedinger created Helvetica, the most loved typeface of our time. This was a return to minimalism, and many other simplistic typefaces such as Futura surfaced around this time period.
William Caslon IV created the first typeface without any serifs at all. It was widely rebuked at the time. This was the start of what we now consider Sans Serif typefaces. During this time, type exploded, and many, many variations were being created to accommodate advertising.
Giambattista e first ‘modern’ (Didot, and rasts were more r before, and ol, fresh look.
[Franklin Gothic]
dot]
1815
[Helvetica]
1920's 1816
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Hellenic Wide
Vincent Figgins created Egyptian, or Slab Serif – the first time a typeface had serifs that were squares or boxes.
contemporary 1957
[Copperplate] Frederic Goudy became the world’s first full time type designer, developing numerous groundbreaking typefaces, such as Copperplate Gothic, Kennerly, and Goudy Old Style.
[Peach Blush]
With the internet, we have such a vast variety of old and new typefaces available for us to peruse and use. All these typefaces give us an abundance of options and looks for our designs today, and we’re not limited by just one or two typefaces like we would have been a few hundred years ago.
About The Mus of MO CT
MUSEUM OF CONTEMPORARY TYPOGRAPHY
Contemporay Typography The Museum of Contemporary Typography has been a proud statement of the LA County for over three years now. The MOCT is owned by none other than Lebron James. Mr. James made sure that this museum would present the best typography work. MOTC has 650 pieces of art, all ranging from the Art Deco era, to the post modernism movement, bauhaus collections, and so many more! Admission to the museum is free with a student ID. Enjoy!
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seum
COLOPHONE
about this brochure
BAUHAUS MODERN BASKERVILLE
BUREAU AGENCY GOBOLD UPLOW
KOHINOOR BANGLA ARIAL
Gobold Hollow Bold
DESIGN BY EVA WU
MO CT
MUSEUM OF CONTEMPORARY TYPOGRAPHY
Museum of Contemporary Typography 21 S Grand Ave, Los Angeles, CA 90012 w w w.th emuseumofmoderntype.org
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u
Ubiqui tous type report
A report
T
on public typogrphy
The presence of typography both good and bad, can be seen everywhere. By Milton Glaser
ypography makes at least two kinds of sense, if it makes any sense at all. It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the study of its visual form are many and widespread. The history of letterforms and their usage is visible too, to PORFOLIO
those with access to manuscripts, inscriptions and old books, but from others it is largely hidden. This book has therefore grown into something more than a short manual of typographic etiquette. It is the fruit of a lot of long walks in the wilderness of letters: in part a pocket field guide to the living wonders that are found there, and in part a meditation on the ecological principles, survival techniques, and ethics that apply. The principles of typography 58
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as I understand them are not a paths at all where there are no set of dead conventions but the shared desires and directions. tribal customs of the magic forest, A typographer determined to where ancient voices speak from forge new routes must move, all directions and new ones like other solitary travellers, move to unremembered forms. through uninhabited country One question, nevertheless, and against the grain of the land, has been often in my mind. crossing common thoroughfares “Typography is the craft of When all right-thinking in the silence before dawn. human beings are struggling endowing human language with The subject of this book is not to remember that other men a durable visual form, and thus typographic solitude, but the old, and women are free to be with an independent existence.� well-travelled roads at the core of different, and free to become the tradition: paths that each of us more different still, how can one Surely typographers, like others, is free to follow or not, and to enter honestly write a rulebook? ought to be at liberty to follow or and leave when we choose if only What reason and authority exist for to blaze the trails they choose. we know the paths are there and these commandments, suggestions, Typography thrives as a shared have a sense of where they lead. and instructions? concern and there are no
p
pop project
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pop! WEEK 1
One typeface. One Size. One Weight. 10 pt. Helvetica Neue Regular
WEEK 2
One typeface. One Size. Two Weights. 10 pt. Helvetica Neue Regular and Bold
WEEK 3
One typeface. Two Sizes. One Weight. 10 pt. Helvetica Neue regular / 36 pt. Helvetica Neue Regular
WEEK 4
One typeface. Two Sizes. Two Weights. 10 pt. Helvetica Neue regular and bold / second size optional
WEEK 5
One typeface. Two Sizes. One Weight. Rule lines – vertical and horizontal. 10 pt. Helvetica Neue regular / second size optional
Week 6
One typeface. Two Sizes. One Weight. Reversed type (20% gray type in black box. Box size optional). 10 pt. Helvetica Neue regular / second size optional
WEEK 7
Experimental One typeface. Two Sizes. One Weight. 10 pt. Helvetica Neue regular / second size optional / Repetition of content allowed
WEEK 8
Experimental One typeface. Open Size. Open Weight. Repetition of content allowed / Different opacities allowed
WEEK 9
Experimental One typeface. Open Size. Open Weight Repetition of content allowed / Different opacities allowed / Color allowed
volume eleven issue one in this issue
kristine stuard
lebron james
mac miller
pop!
visual project
andy walhol
hayley williams
lawrence ferlinghetti sam smith
WEEK ONE PORFOLIO
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sam smith
lebron james
mike miller
kayley williams
lawrence ferlinghetti
volume eleven
issue one
pop!
andy walhol
kristen stewart
in this issue
visual project
WEEK TWO
in this issue
andy walhol
volume eleven
mac miller pop!
lebron james
kristine stuard
visual project
hayley williams
issue one sam smith
lawrence ferlinghetti
WEEK THREE PORFOLIO
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pop! andy walhol
lebron james
mac miller
sam smith
lawrence ferlinghetti
issue one
volume eleven
in this issue
visual project
WEEK FOUR
kristen stewart
PORFOLIO andy walhol
visual project
lawrence ferlinghetti
issue one
in this issue volume eleven
mac miller
pop! WEEK SIX
lebron james kristen stewart
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66 sam smith
WEEK FIVE
EVA WU
visual project volume eleven issue one in this issue
pop! lebron james lawrence ferlinghetti kristine stuard sam smith mac miller hayley williams
andy walhol
WEEK SIX
kristine stuard
hayley williams
lebron james sam smith
mac miller volume eleven
visual project
in this issue
WEEK EIGHT lawrence ferlinghetti
issue one
andy walhol pop!
WEEK SEVEN PORFOLIO
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t h i s
i s s u e
a n d y j a m e s l e b r o n
visual project volume eleven
WEEK EIGHT
s a m
s m i t h
s t u a r d
w i l l i a m s
k r i s t i n e
h a y l e y
m i l l e r
f e r l i n g h e t t i
o n e
m a c
l a w r e n c e
visual visual visual visual visual visual visual visual i s s u e
p o p !
w a l h o l
i n
pop! pop! p o p ! visual project pop! in this issue
volume eleven
andy walhol
pop! kristine stuard p o p ! mac miller p o p ! pop! sam smith
lebron james issue one lawrence ferlinghetti
hayley williams
WEEK NINE PORFOLIO
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onts used
BAUHAUS MODERN BASKERVILLE BUREAU AGENCY GOBOLD UPLOW KOHINOOR BANGLA ARIAL Gobold Hollow Bold HELVETICA AMETHYST REiNA 12
LAMBRE�
SIA
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