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TYPOGRAPHICAL

THE ART OF TYPOGRAPHY TYPOGRAPHY TYPOGRAPHY THE FASHION TYPOGRAPHY INSTITUTE OF TYPOGRAPHY DESIGN & TYPOGRAPHY MERCHANDISING TYPOGRAPHY TYPOGRAPHY CHRIS MARTIN TYPOGRAPHY WINTER 2018 GRAPHIC DESIGN TYPOGRAPHY

2

graphic design

4 INTRO

INTRO A

t the beginning of this quarter, I was filled with dread when I saw how complex and precise typography actually is. I never expected the class to be easy however I didn’t expect the artform to be so involved. As the quarter progressed, I slowly began to fall in love with typography. I had always found it challenging to use fonts decoratively since I had never thought of type as an artform so in-depth before. I now find it extremely entertaining to identify fonts that I am now familiar with in advertisements or anywhere else type may be. Before this class, I had only a vague idea of what typography involved before taking this class but now I have not just gained a new understanding of typography but a new respect as well.

INTRO

TABLE 6 OF CONTENTS

8 24 30 36 42

Typographical Terms

10 26 34 38

Character Studies

Elements of Design

Sketchbook

Logos

Ubiquitous Type

Poster

Fonts Used

Pop!

Typograpical Terms

8 TYPOGRAPH TYPOGRAP Black Letter:

Also called gothic. A style of handwriting popular in the fifteenth century. Also, the class of typestyles based on this handwriting.

A

Drop Cap:

A letter at the beginning of a word, a chapter, or a paragraph that is larger than the rest of the text.

Bullet:

A typographic element usually used to highlight specific lines of text.

Dingbat:

A typographical device other than a letter or numeral (such as an asterisk), used to signal divisions in text or to replace letters in a euphemistically presented vulgar word.

Ellipses:

Three dots that indicate an omission or incomplete thought... often used when shortening copy.

A

HICAL TERMS PHICAL Display Type:

Type used to attract attention, usually above 14 points in size.

Slab Serif:

Also called Egyptian and square serif. Typestyle recognizable by its heavy, square serifs.

Ligature:

Two or three characters joined as a single character; fi, fl, ffl, and ffi are the most common.

Oblique:

Roman characters that slant to the right: looks like this.

Compare to Italic.

Alphanumeric:

A character that is either a letter or a number.

Reversed:

Alignment:

In printing, refers to type that drops out of the background and assumes the color of the paper.

Grotesque:

Distress:

Arrangement of type in straight lines so that different sizes justify at the bottom (base-align) and ends of lines appear even on the page.

Frequently used as a synonym with sans serif. At other times, it is used to describe a particular style or subset of sanserif typefaces.

Type with irregular contours and weathered appearance.

A

A

S

CHARACTER STUDIES 10

AQ

& S

12 CHARACT Character Studies

N

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.)

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.

Typographical Portfolio

TER STUDIES Times Roman Times New Roman is a serif typeface designed for legibility in body text. It was commissioned by the British newspaper The Times in 1931 and conceived

by Stanley Morison, the artistic advisor to the British branch of the printing equipment company Monotype, in collaboration with Victor Lardent, a lettering artist in the Times' advertising department. Although no longer used by The Times, Times New Roman is still very common in book and general printing. It has become one of the most popular and influential typefaces in history and a standard typeface on most desktop computers.

Times New Roman's creation took place through the influence of Stanley Morison of Monotype.

Morison was an artistic director at Monotype, historian of printing and informal adviser to The Times. Asked to advise on a redesign, he recommended that they change their text typeface from a spindly and somewhat dated nineteenth-century face to a more robust, solid design, returning to traditions of printing from the eighteenth century and before. This matched a common trend in printing tastes of the period.

14 CHARACT q Character Studies

F

or as long as there have been Qs, designers have been having fun with the letter’s tail. This opportunity for typographic playfulness may even date back to the Phoenicians: the original ancestor of our Q was called “ooph,” the Phoenician word for monkey. The ooph represented an emphatic guttural sound not found in English, or in any Indo-European language.

Most historians believe that the ooph, which also went by the name “gogh,” originated in the Phoenician language, with no lineage to previous written forms. Historians also believe that the character’s shape depicted the back view of a person’s head, with the tail representing the neck or throat. It’s possible, but if you consider that the letter’s name meant monkey, then perhaps the round part of the symbol represents another kind of backside, and the tail of what became our Q may have started out as, well, a tail.

The Greeks adopted the ooph, but found it difficult to pronounce, and changed it slightly to “koppa.” The Greeks also modified the design by stopping the vertical stroke, or tail, at the outside of the circle. The koppa, however, represented virtually the same sound as “kappa,” another Greek letter. One of them had to go, and koppa was ultimately the loser, perhaps because it had begun to look much like another Greek letter, the P. Unlike the Greeks, the Etruscans could live with the somewhat redundant nature of the koppa, and continued to use the letter. In fact, they had two other k-sound letters to contend with. The Romans elected to use all three signs when they adopted much of the Etruscan alphabet.

The first Roman Q had the Etruscan vertical tail, but over time it evolved into the graceful curved shape that cradles the U which usually follows it.

Typographical Portfolio

TER STUDIES B askerville Baskerville, designed in 1754, is most known for its crisp edges, high contrast and generous proportions. The typeface was heavily influenced by the processes of the Birmingham-bred John Baskerville, a master type-founder and printer, who owed much of his career to his beginnings.

As a servant in a clergyman’s house, it was his employer that discovered his penmanship talents and sent him to learn writing. Baskerville was illiterate but became very interested in calligraphy, and practised handwriting and inscription that was later echoed in strokes and embellishments in his printed typeface.

Baskerville is categorized as a transitional typeface in-between classical typefaces and the high contrast modern faces. At the time that John Baskerville decided to switch from owning a japanning business to a type foundry, Phillipe Grandjean’s exclusive Romain du Roi for Louis XIV had circulated and been copied in Europe. The mathematically-drawn characters felt cold, and prompted Baskerville to create a softer typeface with rounded bracketed serifs and a vertical axis.

16 CHARACT Character Studies

T

he ampersand can be traced back to the first century AD. It was originally a ligature of the letters E and T (“et” is Latin for and). If you look at the modern ampersand, you’ll likely still be able to see the E and T separately.

The first ampersands looked very much like the separate E and T combined, but as type developed over the next few centuries, it eventually became more stylized and less representative of its origins.

You can see the evolution of the ampersand is like the original Roman ligature, 2 and 3 are from the fourth century, and 4-6 are from the ninth century).

The modern ampersand has remained largely unchanged from the Carolignian ampersands developed in the ninth century.

Italic ampersands were a later ligature of E and T, and are also present in modern fonts. These were developed as part of cursive scripts that were developed during the Renaissance.

They’re often more formal-looking and fancier than the standard Carolignian ampersand.

The word “ampersand” was first added to dictionaries in 1837.The word was created as a slurred form of “and, per se and”, which was what the alphabet ended with when recited in English-speaking schools. (Historically, “and per se” preceded any letter which was also a word in the alphabet, such as “I” or “A”. And the ampersand symbol was originally the last character in the alphabet.)

The ampersand is a part of every roman font. It’s used in modern text often, probably most frequently in the names of corporations and other businesses, or in other formal titles (such as Dungeons & Dragons).

It’s experiencing a bit of a resurgence in general usage, as it commonly replaces “and” in text messages and Twitter updates. Ampersands are also commonly used in programming, particularly in MySQL, C and C++, XML, SGML, and BASIC.

Typographical Portfolio

TER STUDIES Bembo The origins of BemboŽ font goes back to one of the most famous printers of the Renaissance, Aldus Manutius. In 1496 he used a new weight of a roman face, formed by Francesco Griffo da Bologna, to print the sh ort piece ’De Aetna’,

by Pietro Bembo. This very typeface would eventually be of such importance that the development of print typefaces is unthinkable without it.

The first developmental phase was defined by the influence of the classic Roman forms, indentifiable by the slight slant of the lower case s and the high crossbar of the lower case e, which in time took on less and less of a slant.

The Monotype Corporation in London used this roman face as the model for a 1929 project of Stanley Morison which resulted in a font called Bembo. Morison made a number of changes to the 15th century forms. He modified the capital G and instead of the italic which Manutius or iginally had in mind, he used that from a sample book written in 1524 by Giovanni Tagliente in Venice. Italic capitals came from the roman forms.

Bembo is an old face type of unusual legibility.

Its timeless classical character makes it suitable for almost any application.

18 CHARACT !

Character Studies

G

raphically the exclamation mark is represented as a full stop point with a vertical line above. One theory of its origin is that it is derived from a Latin exclamation of joy (io). The modern graphical representation is believed to have been born in the Middle Ages.

Medieval copyists wrote the Latin word io at the end of a sentence to indicate joy. The word io meant “hurray”. Over time, the i moved above the o, and the o became smaller, becoming a point.

The exclamation mark was first introduced into English printing in the 15th century to show emphasis, and was called the “sign of admiration or exclamation”or the “note of admiration” until the mid-17th century; admiration referred to its Latin sense of wonderment.

The exclamation mark did not have its own dedicated key on sta ndard manual typewriters before the 1970s. Instead, one typed a period, backspaced, and typed an apostrophe. In the 1950s, secretarial dictation and typesetting manuals in America referred to the mark as “bang”, perhaps from comic books where the ! appeared in dialogue balloons to represent a gun being fired,although the nickname probably emerged from letterpress printing. This bang usage is behind the names of the interrobang, an unconventional typographic character, and a shebang line, a feature of Unix computer systems.

Typographical Portfolio

TER STUDIES Georgia Although inspired by the need for—and providing—clarity at low resolutions on the screen, Georgia is a typeface resonant with typographic personality. Even at small sizes the face exudes a sense of friendliness; a feeling of intimacy many would argue has been eroded from Times New Roman through overuse. This is as much testament to the skill of the typeface’s designer, Matthew Carter, as it is to any intrinsic quality of the face’s design, since the small pixel spaces of the screen can be a harrowing canvas for any type designer. In Georgia, Carter has successfully managed to create a typeface family which combines high legibility with character and charm.

At high resolutions and larger sizes on screen, it’s evident that Georgia’s ancestory is essentially that of Didot and—most noticeably—of Scotch Roman. Carter acknowledges the influence of Richard Austin’s early nineteenth-century cut of Scotch Roman on the design of his letterforms. At the time he started Georgia he had been working on a new retail family called Miller, which is a version of Scotch Roman. Carter admits that he had always admired Scotch, particularly in its early forms as cut by Richard Austin for Bell and Miller. The influence of the Scotch model on Georgia is most clearly seen in the horizontal top serifs of the lowercase b, d, h, k and l, and by the flat top of the lowercase t, a typographic allusion to the typeface’s roots in Didot.

To create a font tailored for on-screen display, Carter had to make several departures from the Scotch mold. In Georgia, the uppercase characters are lightened, the x-height is increased, the ascenders rise above the cap height, and the numerals, often cut with a high degree of stress, have been evened out and made slightly non-aligning – a characteristic that imparts a flavor of individuality to any page set in Georgia.

Georgia’s accompanying italic is a graceful, flowing font, the design of which entirely masks the difficulty of creating an italic for the screen. Unlike many contemporary fonts, it is a true italic, containing such characters as the single-storeyed lowercase a and g. The bold weight of the typeface has been similarly carefully designed, to ensure that it is always heavier than the regular weight; an important consideration at small sizes on the screen, where it is often necessary to distinguish between the two.

Originally made available in September 1996, the Georgia typeface family was released in an extended version in October 1997. The newer releases contain all the characters necessary to typeset Eastern European languages, in addition to the Greek and Cyrillic scripts.

20 CHARACT Character Studies

G

S

reek did not have a long s phoneme, so the derived Greek letter Sigma (ÎŁ) came to represent the voiceless alveolar sibilant /s/.

While the letter shape ÎŁ continues Phoenician sĂŽn, its name sigma is taken from the letter samekh, while the shape of samekh but name and position of sĂŽn is continued in the xi. Within Greek, the name of sigma was influenced by its association with the Greek word ĎƒÎŻÎśĎ‰ (earlier *sigj) “to hissâ€?. The original name of the letter “sigmaâ€? may have been san, but due to the complicated early history of the Greek epichoric alphabets, “sanâ€? came to be identified as a separate letter, M.Herodotus reports that “Sanâ€? was the name given by the Dorians to the same letter called “Sigmaâ€? by the Ionians.

The Western Greek alphabet used in Cumae was adopted by the Etruscans and Latins in the 7th century BC, over the following centuries developing into a range of Old Italic alphabets including the Etruscan alphabet and the early Latin alphabet. In Etruscan, the value /s/ of Greek sigma (đ?Œ”) was maintained, while san (đ?Œ‘) represented a separate phoneme, most likely /Ęƒ/ (transliterated as Ĺ›). The early Latin alphabet adopted sigma, but not san, as Old Latin did not have a /Ęƒ/ phoneme.

The shape of Latin S arises from Greek ÎŁ by dropping one out of the four strokes of that letter. The (angular) S-shape composed of three strokes existed as a variant of the four-stroke letter ÎŁ already in the epigraphy in Western Greek alphabets, and the three and four strokes variants existed alongside one another in the classical Etruscan alphabet. In other Italic alphabets (Venetic, Lepontic), the letter could be represented as a zig-zagging line of any number between three and six strokes.

The Italic letter was also adopted into Elder Futhark, as SowilĹ? (ᛊ), and appears with four to eight strokes in the earliest runic inscriptions, but is occasionally reduced to three strokes (ᛋ) from the later 5th century, and appears regularly with three strokes in Younger Futhark.

Typographical Portfolio

TER STUDIES Graphik

Originally released in 2009, Graphik has quickly become a modern classic. With a rational grid comprised of nine weights in seven different widths, the Graphik Collection is created for maximum flexibility in communication. Inspiration for Graphik came from designer Christian Schwartz’s enduring interest in the expressive possibilities found in ordinary sans serif typefaces.

This stems from his early exposure to Modernist graphic design, particularly posters, from the mid-twentieth century. The purposeful, elegant plainness and wide range of widths allow the Graphik collection to move effortlessly between being a central design element or playing a supporting role in editorial design, corporate branding, video and broadcast design, websites, apps, and user interfaces.

22 CHARACT Character Studies

T

he letter z was part of the earliest form of the Latin alphabet, adopted from Etruscan. Because the sound /z/ in Latin changed to /r/ by rhotacism in the fifth century BC, z was dropped and its place given to the new letter g. In the 1st century BC, z was reintroduced at the end of the Latin alphabet to represent the sound of the Greek zeta /dz/, as the letter y was introduced to represent the sound of the Greek upsilon /y/.

Before the reintroduction of z, the sound of zeta was written s at the beginning of words and ss in the middle of words, as in sōna for ζώνη “belt” and trapessita for τραπεζίτης “banker”.

In Vulgar Latin orthography, z represented a sound, likely an affricate, formed by the merging of the reflexes of Classical Latin /j/, /dj/ and /gj/:[example needed] for example, zanuariu for ianuariu “January”, ziaconus for diaconus “deacon”, and oze for hodie “today”. Likewise, /di/ sometimes replaced /z/ in words like baptidiare for baptizare “to baptize”. In modern Italian, z represents /ts/ or /dz/, whereas the reflexes of ianuarius and hodie are written with the letter g (representing /dʒ/ when before i and e): gennaio, oggi. In other languages, such as Spanish, further evolution of the sound occurred.

Typographical Portfolio

TER STUDIES Inline fonts Inline vs outline’ investigates the roots of manufacturing inline typefaces and illustrates the reasoning of their development through the typographic analysis of ornamented types. In addition to showing and discussing historical typefaces and its creators (wherefore unique material was gathered at different collections, printing archives and type foundries), this paper also focuses on the specific use of these inline typefaces in signage lettering, advertising, packaging and editorial design of the twentieth century.

The presentation concludes with highlighting contemporary practices of designing and developing digital inline fonts.

24 ELEMENTS

Element o

Figure & Ground

W

hen we look at something our minds automatically differentiate between a foreground (figure) and a background (ground). When this occurs, our minds tend to focus more on the foreground figure and envision the background figure as the shape that the figure is contained within.

Typically, the foreground defines itself by being a color of high contrast to that of the background. Black text on white paper is probably the simplest example to use: Notice

that the stark difference between the two shades clearly separates and defines the foreground from the background. One aspect that is especially interesting about this illusion is the concept of ‘closure’ which means our eyes create connections and essentially complete shapes of the foreground without them actually being connected. This can be further developed and perfected through the use of implied lines and using the same or similar colors for the figures in the foreground.

M

ost often the smaller shape will assume the role of the foreground figure. Notice that although both circles have reversed shades, the smaller quadrants still appear at the foreground of each.

S OF DESIGN

of Design N

otice how although the figure is incomplete, our eyes are able to separate all of the black figures from the white background and visualize a panda.

S

ometimes our minds can choose between two colors or shades and decide to view each as both a ground and figure. Notice how this image appears to have a vase surrounded by a black background but another glance may yield two faces looking toward one another with a white background.

A

nother example of figure and ground having the ability to switch roles. In this particular case turning the comic book cover upsidedown aids in the reveal of a different foreground and background.

SKETCHBOOK

26

STUDIES

CHARACTER

28 SKETCHBO

PERSONAL LOGO

MUSEUM POSTER MUSEUM LOGO

OOK

LOGOS 30

Personal Logos

Chris Marti n

32 Logos

Museum Museum of Modern Typography

Museum of Mod Typogra

m Logos

dern aphy

Museum

of Modern Typography

OF

34 UBIQUITO biqui U tous

Type

L

The presence of typography is everywhere ike any other creative pursuit,

By Chris Martin

Look carefully at each font used in every picture. You may be surprised to find these fonts are more common than you think.

the design of letterforms is determined by the prevailing cultural climate and thus in a state of constant flux.

Typography now functions as a kind of weathervane for the zeitgeist, with typographic analysis a leading design issue.

Indeed, as designers have sought to express themselves and define their time, type has increasingly come to have its own intentions, beyond those of verbal communication.

From its first printed appearance in the West, type drew on existing forms, with the results then impacting on future designs. The letters printed in Renaissance Europe by Johann Gutenberg were a direct interpretation of the ornate gothic handwriting of the day; black-letter, in movable, reusable hot metal.

Black-letter would also influence the first italic type cut by Francesco Griffo, which was largely informed by 16th century Italian handwriting. But it was the renewed interest in classic Greco-Roman culture, rather than technological development, that would see our standard roman alphabet find its definitive printed expression.

OUS TYPE “Writing is words made visible.

In the broadest sense, it is everything pictured, drawn,or arranged that can be turned into a spoken account.

The fundamental purpose of writing is to convey ideas. Our ancestors, however, were designers long before they were writers, and in their pictures, drawings, and arrangements, design played a prominent role in communication from the very beginning�.

The early Humanist faces derived their majuscules from stone-carved Roman capital letters (hence the serifs) while their minuscules were adapted from the formal calligraphy of scribes. The more successful types revealed an ability to differentiate the written from the printed character, as evidenced by the letters of Nicolas Jenson. Extremely well-proportioned and unified in form, Jenson’s type reconciled capitals with small letters and provided the blueprint for future letterpress faces.

Our more familiar Baroque types of the 17th century were designed by Claude Garamond and, later, William Caslon. Displaying low stroke contrast and a diagonal stress derived from Italian cursive, they were elegant and highly legible, their dominance only challenged by the work of John Baskerville in the mid-18th century. His strongly vertical Neoclassical faces were based on earlier French grid-based designs and introduced the contrasting stroke weights which were to reach their apotheosis

in the coming Romantic faces of Giambattista Bodoni and Firmin Didot.

The influence of calligraphy now diminished as punchcutting evolved and letterforms began to echo their metal origins.

Improved technologies had gradually facilitated fine detail like unbracketed hairline serifs and high stroke contrast. As a result these sophisticated designs earned type a newfound importance in their ability to command attention. This was timely as the next phase would require and produce various distinctive faces, though the beauty of their form would be contested.

POSTER 36

PRESENTS The Typograp h i c a l MODERN TYPOGRAPHY Work of MUSEUM OF

Adrian Frutiger

221 South Grand Avenue Los Angeles, CA 90019

March 17 - June 15, 2018

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FONTS 42 USED

Avenir

Baskerville Bembo Cassannet Century Gothic Coolvetica Didot

Engravers LH

Geneva

Georgia Graphik Gladifilthefte

Hellforge Helvetica Neue

Ostrich Sans Rounded Phosphate Requiem Display Rockwell Extra Bold

Skia Times New Roman