P
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typography
F fidm
winter 2019
T O I
L youhuizi fu
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6
intro
8
character studies
16
sketches
20
terms
26
logo designs
42
museum report
54
pop! project
65
fonts
contents
table of
32
typographer report
winter 2019
typography
AMY FU
AMY FU
typographical portfolio
THE INTRO Jean Sibelius once said: “Music begins where the possibilities of language end.” I would add: “Design is the ultimate channel communicating thoughts and demonstrating one’s attitude”. Born in Qingdao then grew up in China and Sweden, I have been continuously learning painting and graphic design for many years. It is my natural choice and a rational decision to pursue graphic design as a life long career. Over the past 10 weeks, I’ve learned a lot about the joys of typography, how to use different fonts in different situations, and the importance of layout for great design.
character studies
CHRACTER STUDY
A
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.
About the william William Caslon, (born 1692, Cradley, Worcestershire, Eng.—died Jan. 23, 1766, Bethnal Green, London), English typefounder who, between 1720 and 1726, designed the typeface that bears his name. His work helped to modernize the book, making it a separate creation rather than a printed imitation of the old hand-produced book.
CHARACTER STUDY
!
!
EXCLAMATION POIN Graphically 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 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.
! !!
NT
Baskerville is a serif typeface designed in the 1750s by John Baskerville (1706–1775) in Birmingham, England, and cut into metal by punchcutter John Handy. Baskerville is classified as a transitional typeface, intended as a refinement of what are now called old-style typefaces of the period, especially those of his most eminent contemporary, William Caslon.
!
CHARACTER STUDIES
z
HISTORY OF THE Z In earlier times, the English alphabets used by children terminated not with Z but with & or related typographic symbols. In her 1859 novel Adam Bede, George Eliot refers to Z being followed by & when her character Jacob Storey says, “He thought it had only been put to finish off th’ alphabet like; though ampusand would ha’ done as well, for what he could see.” Some Latin based alphabets have extra letters on the end of the alphabet. The last letter for the Icelandic, Finnish and Swedish alphabets is Ö, while it is Å for Danish and Norwegian. In the German alphabet, the umlauts (Ä/ä, Ö/ö, and Ü/ü) and the letter ß (Eszett or scharfes S) are regarded respectively as modifications of the vowels a/o/u and as a (standardized) variant spelling of ss, not as independent letters, so they come after the unmodified letters in the alphabetical order. The German alphabet ends with z.
z
AB
O
U
T
TH
IS
FO
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T
z C
ochin is a serif typeface. It was originally produced in 1912 by Georges Peignot for the Paris foundry G. Peignot et Fils (future Deberny & Peignot) and was based on the copperplate engravings of French 18th century artist Charles-Nicolas Cochin, from which the typeface also takes its name. The font has a small x-height with long ascenders. Georges Peignot also created the design ‘Nicolas-Cochin’ as a looser variation in the same style.
With a very low x-height and delicate design, Cochin is described by Walter Tracy an example of a style of lettering and graphic design popular in the early twentieth century in several countries. Similar designs are Astrée and later Bernhard Modern and Koch-Antiqua, as well as several designs by Frederic Goudy such as Pabst and Goudy Modern. It had considerable success, for example becoming available on Monotype’s hot metal typesetting system in the United States (Tracy describes this version as disappointing due to changes to the italic) and was also sold by American Type Founders.
sketches
terms
BLACKLETTER Blackletter, also known as Gothic script, Gothic minuscule, or Textura, was a script used trhoughout Western Europe from approximately 1150 to well into the 17th Century. It continued to be used for the German language until the 20 century, called Old English, but it is not to be confused with the Old English language, despite the popular, though mistaken, belief that the language was written with blackletter. The Old English, or Anglo-Saxon, language predates blackletter by many centuries, and was itself written in the insular script, or Futhorc runes before that.
DISPLAY TYPE A display typeface is a typeface that is intended for use a 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.
HAIRLINE RULE
CURSIVE
The thinnest possible line or space that is visible. “And a hair line rule is: “The thinnest rule that can be printed, generally considered to be less than one point or 1/72” wide”
Cursive is a style of writting in which all the letters in a word are connected. It’s also known as script or longhand. When the third-grade students learned cursive writing, they were excited to find that they could write entire words without lifting their pencil form the paper.
SERIF A serif is a small line or storke regularly attached to the end of 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 typecfaces as “grotesque” or “Gothic”, and serif typefaces as “roman”.
DROP CAP A drop cap is the where the first character of the first paragraph is made larger, taking up several lines of text or the first few sentences. Drop caps are used in various media that used typed text including books, newspaper articles, documents, and webpages. Drop caps are used to add style or grab a reader’s attention.
CALLIGRAPHY DINGBAT A dingbat (sometimes more formally known as a printer’s ornament or printer’s character) is an ornament, character, or spacr 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 designed for alphabetical or numeric characters.
Calligraphy is a visual art related to writting. It is the design and execution of lettering with a broad tip instrument, brush, or other writting instruments. A contemporary calligraphic practice can be defined as “the art of giving form to signs in an expressive, harmonious, and skillful manner.
REVERSED Process of printing light colored or white text on a dark or black background, used for emphasis or producing a visual impact. Reverse text is not suitable for reading type (12 points or less) because of its poor legibility even in normal lighting conditions. Also called reverse printing.
EGYPTIAN TYPE In typography, a slab serif (also called mechanistic, square serif antique or Egyptian) typeface is a type of serif typeface characterized by thick, block-like serifs.
DECORATIVE
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.
Knowing which form to use and how to locate or create numerical fractions is key to creating the most visually pleasing typography.
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 a 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 develope uneven surfaces, or crack, as it cooled.
Script fonts, fonts with extreme features such as swashes or exaggerated serifs, and any fonts designed to be used at larger than body copy sizes be described as decorative type.
DIDONE
FRACTION
DISTRESSED Distressed typefaces cover a lot of ground. Some replicate the irregular contours of brush strokes and other writting implements. Others capture the organic texture of parchment and stone, or approximate the low-tech look of woodcuts, stencils and rubber stamps.
TRACKING 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.
AMPERSAND An ampersand is the symbol &, which was designed by German typesetter Manfred Johann Amper in 1634 as an abbreviation for the German word “und”, which means “and” in English; hence the symbol was first known as “Amper’s and’ “, which was eventually syncopated into “ampersand”, the term by which we know it today.
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.
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. Other ligatures are primarily to make type more attractive on the page such as the fl and fi ligatures. In most cases, a ligature is only available in extended characters sets or special expert sets of fonts.
UBIQUITO The presence of typography both good and bad, can be seen everywhere. Milton Glazer
T
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 letter- forms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely hid- den. 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 as I understand them are not a set of dead conventions but the tribal customs of the magic forest, where ancient voices speak from all directions and new ones move to unremembered forms. One question, nevertheless, has been often in my mind. When all right-thinking human beings are struggling to remember that other men and women are free to be different,6 and free to become more different still, how can one honestly write a rulebook? What reason and authority exist for these commandments, suggestions, and
instructions? Surely typographers, like others, ought to be at liberty to follow or to blaze the trails they choose. Typography thrives as a shared concern - and there are no paths at all where there are no shared desires and directions. A typographer determined to forge new routes must move, like other solitary travellers, through uninhabited country and against the grain of the land, crossing common thoroughfares in the silence before dawn. The subject of this book is not typographic solitude, but the old, well- travelled roads at the core of the tradition: paths that each of us is free to follow or not, and to enter and leave when we choose - if only we know the paths are there and have a sense of where they lead.That freedom is denied us if the tradition is concealed or left for dead. Originality is everywhere, but much originality is blocked if the way back to earlier discoveries is cut or overgrown. If you use this book as a guide, by all means leave the road when you wish. That is pre- cisely the use of a road: to reach individu- ally chosen points of departure. By all means break the rules, and break them beautifully, deliberately, and well. That is one of the ends for which they exist. Letterforms change constantly, yet differ very little,
OUS
TYPE
because they are alive. The principles of write by more chemical means. But the typographic clarity have also scarcely underlying principles of typography are, altered since the second half of the at any rate, stable enough to weather fifteenth century, when the first any number of human fashions and books were printed in roman fads. type. Indeed, most of the Typography is the craft of principles of legibility and endowing human language design explored in this with a durable visual book were known and form, and thus with used by Egyptian an independent scribes writing existence. Its hieratic script heartwood is with reed pens on calligraphy - the papyrus in 1000 B.C. dance, on a tiny Samples of their work sit stage, of It is true that now in museums in Cairo, typographer’s tools are London and New York, still presently changing with lively, subtle, and perfectly legible considerable force and speed, thirty centuries after they were made. but this is not a manual in the use Writing systems vary, but a good of any particular typesetting system or page is not hard to learn to recognize, medium. I suppose that most readers of whether it comes from Tang Dynasty this book will set most of their type in digital China, The Egyptian New form, using computers, but Kingdom typographers set I have no preconceptions “Typography is the craft of for themselves than with the about which brands of endowing human language mutable or Renaissance Italy. computers, or which versions with a durable visual form, The principles that unite these of which proprietary and thus with an independent distant schools of design are software, they may use. The based on the structure and essential elements of style existence.” scale of the human body - the have more to do with the eye, the hand, and the forearm goals the living, speaking in particular - and on the invisible but no less real, hand - and its roots reach into living soil, though no less demanding, no less sensuous anatomy of its branches may be hung each year with new the human mind. I don’t like to call these principles machines. So long as the root lives, typography universals, because they are largely unique to our remains a source of true delight, true knowledge, species. Dogs and ants, for example, read and true surprise.
logo de
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MUSEUM OF CONTEMPORARY TYPOGRAPHY
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typographe & MUSEU
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Tamara de Lempicka Auto Portrait Winchester Galleries
ErtĂŠ (Romain de Tirtoff ) Florida (Pearl Dress) , 1989 Martin Lawrence Galleries
What is Art Deco?
A
rt Deco, sometimes referred to as Deco, is a style of visual arts, architecture and design that first appeared in France just before World War I. Art Deco influenced the design of buildings, furniture, jewelry, fashion, cars, movie theatres, trains, ocean liners, and everyday objects such as radios and vacuum cleaners. It took its name, short for Arts DĂŠcoratifs, from the Exposition internationale des arts dĂŠcoratifs et industriels modernes (International Exhibition of Modern Decorative and Industrial Arts) held in Paris in 1925. It combined modernist styles with fine craftsmanship and rich materials. During its heyday, Art Deco represented luxury, glamour, exuberance, and faith in social and technological progress. Art Deco was a pastiche of many different styles, sometimes contradictory, united by a desire to be modern. From its outset, Art Deco was influenced by the bold geometric forms of Cubism; the bright colors of Fauvism and of the Ballets Russes; the updated craftsmanship of the furniture of the eras of Louis Philippe I and Louis XVI; and the exotic styles of China and Japan, India, Persia, ancient Egypt and Maya art. It featured rare and expensive materials, such as ebony and ivory, and exquisite craftsmanship. The Chrysler Building and other skyscrapers of New York built during the 1920s and 1930s are monuments of the Art Deco style. In the 1930s, during the Great Depression, the Art Deco style became more subdued. New materials arrived, including chrome plating, stainless steel, and plastic. A sleeker form of the style, called Streamline Moderne, appeared in the 1930s; it featured curving forms and smooth, polished surfaces.Art Deco is one of the first truly international styles, but its dominance ended with the beginning of World War II and the rise of the strictly functional and unadorned styles of modernism and the International Style of architecture that followed.
ART DECO ARCHITECTURE T
he architectural style of art deco made its debut in Paris in 1903–04, with the construction of two apartment buildings in Paris, one by Auguste Perret on rue Trétaigne and the other on rue Benjamin Franklin by Henri Sauvage. The two young architects used reinforced concrete for the first time in Paris residential buildings; the new buildings had clean lines, rectangular forms, and no decoration on the facades; they marked a clean break with the art nouveau style.Between 1910 and 1913, Perret used his experience in concrete apartment buildings to construct the Théâtre des ChampsÉlysées, 15 avenue Montaigne. Between 1925 and 1928 he constructed the new art deco facade of the La Samaritaine department store in Paris.
tions. It sometimes was combined with other styles; Los Angeles City Hall combined Art Deco with a roof based on the ancient Greek Mausoleum at Halicarnassus, while the Los Angeles railroad station combined Deco with Spanish mission architecture. Art Deco elements also appeared in engineering projects, including the towers of the Golden Gate Bridge and the intake towers of Hoover Dam. In the 1920s and 1930s it became a truly international style, with examples including the Palacio de Bellas Artes (Palace of Fine Arts) in Mexico City by Federico Mariscal [es], the Mayakovskaya Metro Station in Moscow and the National Diet Building in Tokyo by Watanabe Fukuzo.
The Art Deco style was not limited to buildings on land; After the First World War, art deco buildings of steel the ocean liner SS Normandie, whose first voyage was and reinforced concrete began to appear in large cities in 1935, featured Art Deco design, including a dining across Europe and the United States. In the United States room whose ceiling and decoration were made of glass the style was most commonly used for office buildings, by Lalique. government buildings, movie theaters, and railroad sta-
A. M. Cassandre
Adolphe Jean-Marie Mouron, known as AM. Cassandre was born in Kharkov, Ukraine, on January 24, 1901.
A.M. Cassandre was one of the most influential poster artists of the 20th century. Born in January, 1901 in Ukraine. Cassandre worked for multiple firms as a designer: Hachard and Cie, Lille, McCorquodale & Co, Bemrose & Sons, Nijgh en Van Ditmar are just a few to name. In 1933 he turned his focus to painting and the theatre. His work featured a combination of his typographic sensitivity mixed with his fine arts background. Cassandre was heavily influenced by surrealism and cubism, which you can see from his designed advertisements and magazine covers. Cassandre went on to teach in Paris at a graphics art school from 1934–35, before joining the army. He was demobolised from the second world war in the fall of 1940 and upon so, retreated back to his painting and theatre. His work became more effortless after the war. Up to 1944, painting was his sole priority. In 1929, while he was working for Debern & Peignot, ‘Bifur’ was designed. This was his first advertising typeface. ‘Bifur’ relates back to a period of time where posters and prints were categorised by capital only sanserif typography. A year later in 1930, his second typeface was designed. A “black-and-gray sanserif Acier display face” was published by Debern & Peignot. ‘Peignot’ is one of Cassandres most famous typefaes, named after Charles Peignot who commissioned the typeface. This typeface is a tribute to what Cassandre saw, reflecting the deformation of the lower-case alphabet. Cassandres typefaces represent personal statements about typography and communication. Yves Saint Laurent is one of the world’s most recognisable lavish brands. A.M. Cassandre designed and created the infamous logo for the high-end brand. The logo is a focus point in a number of advertising campaigns, magazine spreads, clothing designs, accessories and more.
GRAPHIC ARTS
T
he Art Deco style appeared early in the graphic arts, in the years just before World War I. It appeared in Paris in the posters and the costume designs of Leon Bakst for the Ballets Russes, and in the catalogs of the fashion designers Paul Poiret. The illustrations of Georges Barbier, and Georges Lepape and the images in the fashion magazine La Gazette du bon ton perfectly captured the elegance and sensuality of the style. In the 1920s, the look changed; the fashions stressed were more casual, sportive and daring, with the woman models usually smoking cigarettes. American fashion magazines such as Vogue, Vanity Fair and Harper’s Bazaar quickly picked up the new style and popularized it in the United States. It also influenced the work of American book illustrators such as Rockwell Kent. In Germany, the most famous poster artist of the period was Ludwig Hohlwein, who created colorful and dramatic posters for music festivals, beers, and, late in his career, for the Nazi Party. During the Art Nouveau period, posters usually advertised theatrical products or
cabarets. In the 1920s, travel posters, made for steamship lines and airlines, became extremely popular. The style changed notably in the 1920s, to focus attention on the product being advertised. The images became simpler, precise, more linear, more dynamic, and were often placed against a single color background. In France popular Art Deco designers included, Charles Loupot and Paul Colin, who became famous for his posters of American singer and dancer Josephine Baker. Jean Carlu designed posters for Charlie Chaplin movies, soaps, and theaters; in the late 1930s he emigrated to the United States, where, during the World War, he designed posters to encourage war production. The designer Charles Gesmar became famous making posters for the singer Mistinguett and for Air France. Among the best known French Art Deco poster designers was Cassandre, who made the celebrated poster of the ocean liner SS Normandie in 1935. In the 1930s a new genre of posters appeared in the United States during the Great Depression. The Federal Art Project hired American artists to create posters to promote tourism and cultural events.
A.M.
CASSANDRE
A
.M. Cassandre was born as Adolphe Jean-Marie Mouron on January 24, 1901, in Kharkov, Ukraine. Born of French parents, Cassandre eventually settled in Paris in 1915. The blooming artist studied at Ecole des Beaux-Arts, the independent stu-
dio of Lucien Simon and l’Académie Julian. Throughout his life, he pursued many career paths and was well-known as a graphic designer, painter, poster artist and stage designer. After completing his education, Cassandre moved to his own studio in 1922 in Paris. It was there that he began signing his works with the pseudonym “Cassandre.” Inspired by cubism and surrealism, Cassandre created the first poster that exemplified his unique style in 1923. This work, called Au Bûcheron, was created for a cabinet maker. In 1926, Cassandre co-founded the advertising agency Alliance Graphique and began experimenting with typography. Cassandre designed the famous advertising typeface Bifur, which was printed by Deberny & Peignot in 1929. He later created the sans-serif typeface Acier Noir in 1935. Between 1933 and 1935, Cassandre began painting for the theater and was also was given teaching positions at the Ecole Nationale des Arts Décoratifs and later at Rue Férou in Paris. Cassandre created his first all-purpose typeface, Peignot, which was exhibited at the 1937 World’s Fair in Paris.
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Carolingian minuscule was the direct ancestor of blackletter. Blackletter developed from Carolingian as an increasingly literate 12th-century Europe required new books in many different subjects.
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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
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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.
C
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
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
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Firmin Didot and Giambattista Bodoni created the first ‘modern’ Roman typefaces (Didot, and Bodoni). The contrasts were more extreme than ever before, and created a very cool, fresh look.
Vincent Figgins created Egyptian, or Slab Serif – the first time a typeface had serifs that were squares or boxes.
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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. Frederic Goudy became the world’s first full time type designer, developing numerous groundbreaking typefaces, such as Copperplate Gothic, Kennerly, and Goudy Old Style.
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ABOUT THE MUSEUM
The Broad 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 Broad is home to 2,000 works of art in the Broad collection, which is among the most prominent holdings of postwar and contemporary art worldwide, and welcomes more than 800,000 visitors a year. The 120,000-square-foot building features two floors of gallery space and is the headquarters of The Broad Art Foundation’s worldwide lending library, which has been loaning collection works to museums around the world since 1984. Generous support is provided by Leading Partner East West Bank. Which has been loaning collection works to museums around the world since 1984. Generous support is provided by Leading Partner East West Bank.
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