typography Final by Randy Dunbar

Portfolio a n i n r o e S ynt o B

Table of 8

Characte

Sketc

Typograph

Ubiquito

Logo Dev

Bauhaus

MOCT B

po 2/72

Contence

er Studies

ches

hical Terms

ous Tyoe

velopment

s Report

Brochure

op!

S Serina B Motion

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Graphics

oynton B

S Serina B Motion

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Graphics

oynton For my portfolio, I decided that I wanted to make the theme of it look similar to my projects about Bauhaus and Herbert Bayer because I feel like I learned the most from those projects. Iâ&#x20AC;&#x2122;ve done this by only using primary colors, geometric shapes such as rectangles, and by using the font Bauhaus created by Herbert Bayer. I also attempted to make the designs on each of my slides simple because â&#x20AC;&#x2DC;less is moreâ&#x20AC;&#x2122; but at the same time not completely empty. Lastly I wanted to make my slides match each other by being the same, or very similar. To make them similar I simply used the same three rectanglular shapes and readjusted them to fit appropriately.

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aracter Studies

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. 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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e l l i v r e k s a B

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 clergymanâ&#x20AC;&#x2122;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.

, seventh letter of the alphabet. The history of this letter began with the Latin alphabet. The Greek alphabet from which, through Etruscan, the Latin was derived, represented the voiced velar stop by its third letter gamma (Γ). This passed into Latin and was used in its rounded form C to represent the same sound, as in the word recei (probably an early dative form of rex, “king”), occurring in an early Latin inscription. The letter, however, came to represent the unvoiced velar stop, thus ousting K. This was probably due to Etruscan influence. To avoid confusion a new letter G was differentiated from C and used to represent the voiced velar, while C henceforward stood for the unvoiced velar only. The new letter was placed in the alphabet in the place of Greek zeta (Ζ) which was not required in the Latin alphabet. The uncial form of the letter in the 6th and 7th centuries was a transitional form between C and G. The form with a rounded head, from which the modern minuscule g is derived, appears first in Latin cursive writing about the beginning of the 7th century, taking the place of earlier forms. A minuscule flat-headed form was adopted by Irish writing of the 6th and 7th centuries, and such a form had been in use in Latin cursive from the 5th through the 8th century. A form appears in Merovingian (pre-Carolingian French) writing in the 8th century, and a descendant of this was adopted into the Carolingian hand.

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DIN Condensed

DIN stands for Deutsches Institut fĂźr Normung (German Institute for Standardization.) The DIN 1451 typeface was designed in 1936 for road and railway signage. It remained in use for German number plates until 2000. Linotype markets a digital version of the original font while Albert-Jan Pool created a very versatile family of DIN typefaces (FF DIN) for Fontshop. FF DIN is more geared towards commercial applications.

he 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 standard 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.

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io !

Lee was an advertising design director and designed Impact with posters and publicity material in mind.[2] Its thick strokes, compressed letterspacing, and minimal interior counterform are specifically aimed, as its name suggests, to “have an impact”. Impact has a high x-height, reaching nearly to threequarters the capital line. Ascenders are short, and descenders even shorter. With narrow apertures and folded-up letterforms, the lowercase can be quite hard to read printed small, especially for people with vision problems. The face is intended for headlines and display use rather than body text. As a display design, it was not released with an italic or bold weight. Writing in 2004, the year before his death, Lee explained that the design goal was “to get as much ink on paper as possible in a given size with

IMPACT the maximum possible x-height” and to provide a home-grown metal type alternative to European designs in the style, which were complicated for British businesses to license and use.[3] Impact resembles other condensed designs of the period, such as Schmalfette Grotesk (and its successor Haettenschweiler) which is similarly designed, but narrower.[4][5] Lee wrote that “many of us admired the vitality and colour of what we knew only as Schmalfette, and used it by old-fashioned cut and paste. Use was limited as it was never made in metal as far as I know, and existed then in capitals and numerals only” .

It also resembles the Letraset face Compacta and Linotype’s Helvetica Inserat, and is similar to the masthead of Private Eye (which is caps-only but based on a never-released typeface with a lower case), designed by Matthew Carter slightly earlier.[6][7] Impact was initially promoted with a brochure (shown below) titled ‘The Impact of Impact’.

History of The Z

he letter z is a very rare letter in Latin, occurring only in proper nouns such as place or personal names. It is also rare in English, so much so that in the modern English speaking world we cannot even agree on how to pronounce its name. (One of my granddaughters used to refer to a certain stripey equid as a zedbra, in protest against the American zee for zeebra that was in some little song or chant she had. Couldnâ&#x20AC;&#x2122;t be persuaded that both could be right. Sigh! Story of my education!) The letter z is common in medieval French, and makes its appearance in Germanic languages. A graphic sign which looks exactly like a medieval long z is used in Latin in the abbreviation for the suffix -us. If it looks like a z does that make it a z? No, it makes it an abbreviation mark. I think. In some later medieval English legal documents it can appear in rather odd places, but the spelling of English at that time was a random and strange affair. In later 15th and 16th century cursive scripts, the letter r may be written exactly similar to a modern z , but it is definitely an r.

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Avenir is a sans-serif typeface designed by Adrian Frutiger and released in 1988 by Linotype GmbH. The word avenir is French for “future”. As the name suggests, the family takes inspiration from the geometric style of sans-serif typeface developed in the 1920s that took the circle as a basis, such as Erbar and Futura. Frutiger intended Avenir to be a more organic interpretation of the geometric style, more even in colour and suitable for extended text, with details recalling more traditional typefaces such as the two-storey ‘a’ and ‘t’ with a curl at the bottom, and letters such as the ‘o’ that are not exact, perfect circles but optically corrected.[1]

About This Font

Frutiger described Avenir as his finest work: ‘The quality of the draftsmanship – rather than the intellectual idea behind it – is my masterpiece. (...) It was the hardest typeface I have worked on in my life. Working on it, I always had human nature in mind. And what’s crucial is that I developed the typeface alone, in peace and quiet – no drafting assistants, no-one was there. My personality is stamped upon it. I’m proud that I was able to create Avenir.

AVENIR

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ketches

a a a aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aaa aa a aa aa aaa

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aa a aa aaa aa a aa aaa aaa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa aa a a

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zz zz zz zzz zz zz zz zzz zzz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz zz z z z

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Typog 26/72

graphical Terms

TYPOGRAPHICAL TERMS ILLUSTRATED

Display Blackletter A heavy angular condensed typeface used especially by the earliest European printers and based on handwriting used chiefly in the 13th to 15th centuries also : this style of handwriting.

Hairline In typeface anatomy, a hairline is the thinnest stroke found in a specific typeface that consists of strokes of varying widths. Hairline is often used to refer to a hairline rule, the thinnest graphic rule (line) printable on a specific output device.

Drop Cap

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.

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Calligraphy Cursive Cursive comes from the past participle of the Latin word currere, which means “to run.” In cursive handwriting, the letters all run into one another and the hand runs across the page, never lifting between letters. Every time a document asks for your signature at the bottom of a document, you are meant to use this flowing cursive writing style.

It is the design and execution of lettering with a broad tip instrument, brush, or other writing instruments. A contemporary calligraphic practice can be defined as “the art of giving form to signs in an expressive, harmonious, and skillful manner”.

A typeface intended fo large sizes ings, rathe extended p of body tex typefaces have more and variab than the si relatively r typefaces used for bo

Ding

Serif A small decorative line added as embellishment to the basic form of a character.

In computi bat is a ter to describe fonts that h shapes an bols in pla would norm letters and

Egyptia An optically consistent degree of increase (or sometimes decrease) of space between letters to affect visual density in a line or block of text.

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.

In compu dingbat i used to d certain fo have shap symbols i of what w normally ters and n

y Type

e that is or use at s for header than for passages xt. Display will often e eccentric ble designs imple, restrained generally ody text.

gbat

ing, dingrm used e certain have nd symace of what mally be d numbers.

an Font

uting, s a term describe onts that pes and in place would be letnumbers.

TYPOGRAPHICAL TERMS ILLUSTRATED

Decorative Fonts with extreme features such as swashes or exaggerated serifs, and any fonts designed to be used at larger than body copy sizes can be described as decorative type.

A genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the nineteenth.

Reversed

Wood Type

Wood has been used for letterforms and illustrations dating back to the first known Chinese woodblock print from 868 CE. 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.

Distressed

Ligature Two or more letters combined into one character make a ligature. In typography some ligatures represent specific sounds or words such as the AE or æ diphthong ligature.

With their irregular contours and weathered appearance, these designs are a great way to return a natural, handmade charm to typography. Distressed typefaces cover a lot of ground. Some are designed to look grungy and deconstructed, and some are positively spooky, with creepy, drippy letterforms.

Text that has a light color on a darker background. When white text is set on a black background, the text is ‘knocked out’ and the paper shines through, hence the term ‘knockout text’. Reversed type doesn’t have to be white.

Ampersand The typographic symbol used to designate the word and (&) is the Latin symbol for et which means and. The name, ampersand , is believed to be derived from the phrase “and per se and.”

36/297 Fraction Stacked fractions (also called nut or case fractions) are occasionally called for in measurements or mathematics, or when space is at a minimum.

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iquitous Type

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ike any other creative reusable hot metal. pursuit, the design of Black-letter would also letterforms is deterinfluence the first italic mined by the prevailing type cut by Francesco cultural climate and thus in a Griffo, which was largely state of constant flux. Typoginformed by 16th cenraphy now functions as a kind tury Italian of weathervane for the zeithandwritgeist, with typographic analing. But it ysis a leading design issue. was the Indeed, as designers have renewed sought to express themselves interest and define their time, type has in classic increasingly come to have its Greco-Roown intentions, beyond those man culof verbal communication. ture, rather From its first printed apthan techpearance in the West, type nological drew on “Writing is words made existing visible. In the broadest forms, with development, that sense, it is everything— the results would see our pictured, drawn,or then impactstandard roman ing on future arranged—that can be turned alphabet find its designs. The into a spoken account. definitive printed The fundamental purpose of letters printed expression. writing is to convey ideas. in RenaisThe early Our ancestors, however, sance Europe Humanist facwere designers long before by Johann es derived their they were writers, and in Gutenberg majuscules from their pictures, drawings, were a direct and arrangements, design stone-carved interpretation played a prominent role in Roman capital of the ornate communication from the very letters (hence the gothic hand- beginning”. serifs) while their writing of the minuscules were day; black-letter, in movable, 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 Gara-

mond 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.

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go elopment

Museum Of Contem 36/72

MOCT

mporary Typography

s u t a r h o u p a e BR 38/72

Bauhaus Less Is More

BAU

WHAT

Bauhaus—literally translated to “construction house”—originated as a Germ arts in the early 20th century. Founded by Walter Gropius, the school eve into its own modern art movement characterized by its unique approach and design. Today, Bauhaus is renowned for both its unique aesthetic combines the fine arts with arts and crafts as well as its enduring influence

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UHAUS

man school of the entually morphed h to architecture c that inventively e on modern art.

In 1919, German architect Walter Gropius established Statliches Bauhaus, a school dedicated to uniting all branches of the arts under one roof. The school acted as a hub for Europe’s most experimental creatives, with well-known artists like Josef Albers, Wassily Kandinsky, and Paul Klee offering their expertise as instructors.

HISTORY

Bauhaus as an educational institution existed in 3 cities—Weimar (1919 to 1925), Dessau (1925 to 1932), and Berlin (1932 to 1933)—until it was closed due to mounting pressures from the Nazis. However, even after facing permanent closure, the influence and aesthetic of the school persisted, culminating in the Bauhaus movement.

Bauhaus

Neues B

Monoglyceride

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Bauen Kalos Sans

feste

Alba

Architecture

structures involving a gre the Bauhaus has had a m

Ittenâ&#x20AC;&#x2122;s original pedagogica of play to adult material his successors but many

The clean, unadorned loo Cities around the world architecture as refugees

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Today, almost a century key influence in architec once held sway. Yet pos to the Bauhaus. It is suc answered even by those

INFLUENCE

e produced by the Bauhaus has the same quality: spare, logical, rectangular

eat deal of steel and glass. Given its brief life and relatively small output, massively disproportionate impact on all fields related to its work.

al template, which accessed creativity by applying the kindergarten concept ls and considerations, defined not only the preliminary courses taught by of the basic assumptions of art education afterward.

ok developed by Bauhaus designers spread everywhere in modernist design. d, from Chicago to Tel Aviv, began to show Bauhaus influence in their from the school spread across the globe.

after it was founded, the Bauhaus has sometimes been supplanted as the cture, industrial design, typography and many other disciplines in which it st-Bauhausian work in these disciplines exists, at least in part, in response ch a pivotal part of the history of aesthetics that its principles must be who disagree with them. We all live in the shadow of the Bauhaus.

Herbert Bayer

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19 -19

900 985

rtistic polymath Herbert Bayer was one of the Bauhausâ&#x20AC;&#x2122;s most influential students, teachers, and proponents, advocating the integration of all arts throughout his career. Bayer began his studies as an architect in 1919 in Darmstadt. From 1921 to 1923 he attended the Bauhaus in Weimar, studying mural painting with Vasily Kandinsky and typography, creating the Universal alphabet, a typeface consisting of only lowercase letters that would become the signature font of the Bauhaus. Bayer returned to the Bauhaus from 1925 to 1928 (moving in 1926 to Dessau, its second location), working as a teacher of advertising, design, and typography, integrating photographs into graphic compositions.

ert

walter

BAUHAUS

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THE MUSEUM OF CONTEMPORARY TYPOGRAPHY PRESENTS THE WORK OF

Museum Of Contemporary Typography

Artistic polymath Herbert Bayer was one of the Bauhausâ&#x20AC;&#x2122;s most influential students, teachers, and proponents, advocating the integration of all arts throughout his career. Bayer began his studies as an architect in 1919 in Darmstadt. From 1921 to 1923 he attended the Bauhaus in Weimar, studying mural painting with Vasily Kandinsky and typography, creating the Universal alphabet, a typeface consisting of only lowercase letters that would become the signature font of the Bauhaus. Bayer returned to the Bauhaus from 1925 to 1928 (moving in 1926 to Dessau, its second location), working as a teacher of advertising, design, and typography, integrating photographs into graphic compositions.

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e fac e typ rtook n a unde y to g i es dly raph - a d to xcite pog sal” r nly y ver e e t o y r t Ba aye ern “uni no r an d d B , e on and o mo was esign ed fo was i s t mis tions ach esult r’s d o ne nale t. m r co nica pro ye s n ratio you e a s h u a B p la u T i s op comm his a ce.” t. In re w of hi oard r e G n a 5, haus sed ypef rif fo lt th Part keyb 2 u t r fe r. e 19 au In all B . He alist ans-s , he lette write e k e y h for tas n “id tric s ssar eac typ r e s e thi te a eom nnece se fo d th n a cre ple g rifs u er ca ing a t sim e se d low eset r n we er a fy typ i p up impl s to

Museum Of Contemporary Typography

In 1944 Bayer marr same year, he beca

In 1946 the Bayers to Aspen, Colorado the town included c his production of p

In 1959, he designe and without capital well as the digraph traditional orthogra

While living in Aspen ary ecologist, Rober that Bayer had desig was the beginning o passion for enthusia

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With Andersonâ&#x20AC;&#x2122;s eve tion quickly overflow distinction of posse direction of Bayer a

ried Joella Syrara Haweis, the daughter of poet and Dada artist Mina Loy. The ame a U.S. citizen.

relocated. Hired by industrialist and visionary Walter Paepcke, Bayer moved o as Paepcke promoted skiing as a popular sport. Bayer’s architectural work in co-designing the Aspen Institute and restoring the Wheeler Opera House, but promotional posters identified skiing with wit, excitement, and glamour.

ed his “fonetik alfabet”, a phonetic alphabet, for English. It was sans-serif l letters. He had special symbols for the endings -ed, -ory, -ing, and -ion, as hs “ch”, “sh”, and “ng”. An underline indicated the doubling of a consonant in aphy.

n, Bayer had a chance meeting with the eccentric oilman, outdoorsman and visionrt O. Anderson. When Anderson saw the ultra-modern, Bauhaus-inspired home gned & built in Aspen, he walked up to the front door and introduced himself. It of a lifelong friendship between the two men and instigated Anderson’s insatiable astically collecting contemporary art.

entual formation of the Atlantic Richfield Company, and as his personal art collecwed out of his New Mexico ranch and other homes, ARCO soon held the unique essing the world’s largest corporate art collection, under the critical eye and sharp as ARCO’s Art and Design Consultant.

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.

Jenson 1470 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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Nicolas Jenson created Roman Type, inspired by the text on ancient roman buildings. It was far more readable than blackletter, and caught on quickly.

1501

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.

1734

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’.

1757 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.

D 1780

Firmin Di Giambatt created t ‘modern’ typefaces and Bodo contrasts extreme t before, a a very co look.

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idot and tista Bodoni the first ’ Roman s (Didot, oni). The s were more than ever and created ool, fresh

Vincent Figgins created Egyptian, or Slab Serif – the first time a typeface had serifs that were squares or boxes.

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.

1920 Frederic Goudy became the world’s first full time type designer, developing numerous groundbreaking typefaces, such as Copperplate Gothic, Kennerly, and Goudy Old Style.

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.

Present: 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.

TERMINOLOGY EXPLAINED

What’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.

ghout history, typefaces have been influenced by technological advances, culture shifts, and just general boredom with the state of typography.

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The Museum of Contemporary Typography is a contemporary art museum founded by philanthropists Eli and Edythe Broad on Grand Avenue in downtown Los Angeles. Designed by Diller Scofidio + Renfro in collaboration with Gensler, the museum offers free general admission and presents an active program of rotating temporary exhibitions and innovative audience engagement. The Museum of Contemporary Typography is home to more than 2,000 works of art in the Museum of Contemporary Typography’s collection, which is one of the world’s most prominent collections of postwar and contemporary art. The 120,000-square-foot building features two floors of gallery space and is the headquarters of The Museum of Contemporary Typography Art Foundation’s worldwide lending library, which has been loaning collection works to museums around the world since 1984. Since opening in September 2015, The Museum of Contemporary Typography has welcomed more than 2.5 million visitors. Generous support is provided by Leading Partner East West Bank.

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