ypography, the design, or selection, of letter forms to rganized into words and sentences to be disposed in block ype as printing upon a page. Typography and the typograp ctices it may also ho pra oncerned with other, related mat —the sele ction
OF
HISTORY TYPOGRAPHY aper, the choice of ink, the method of printing, the design of
nding if the product at hand is a book—but the word typogra ithout modifier most usually denotes the activities and conc f those most involved in and concerned with the determinatio
A table of contents usually includes the titles or descriptions of first-level headings chapters in longer works, and often includes second-level headings sections or A-heads within the chapters as well, and occasionally even includes third-level headings subsections or B-heads within the sections as well. The depth of detail in tables of contents depends on the length of the work, with longer works having less. Formal reports ten or more pages and being too long to put into a memo or letter also have a table of contents. Within an English-language book, the table of contents usually appears after the title page, copyright notices, and, in technical journals, the abstract; and before any lists of
TABLE OF CONTENTS
Introduction .......................................................... 2 Early Ideas.............................................................. 4 Layout ..................................................................... 8 Rendering .............................................................. 12 Exhibition Advertisement ................................ 16
Introduction, in strict usage, refers to the preliminary section of a book, etc. that explains and leads into the subject proper; , preface refers to a statement preliminary to a book, written by the author or editor and explaining the purpose, plan, or preparation of the preface work; the may also include acknowledgments for help or for permissions granted for use of previously published material; , foreword is a brief preface written by someone other than the author; , preamble refers to a formal, but usually brief, introduction to a constitution, treaty, etc.; , prologue applies to the preliminary section as of a play or poem,
INTRODUCTION
INTRODUCTION In the final project for an exhibition design class, I chose to do it on the History of Typography based on my BFA capstone project on the Feminist History of Typography. This exhibit talks about the history of typography timeline with a subselection on the Feminist History of Typography. I showcase different areas of typography and type design throughout this exhibit. This shows how I would use the space in SUMA for this exhibit, the items I would use in it, and the design/ feel of the overall exhibition. I designed this booklet using the same template as the main title wall of the exhibit for each of the selection headings. Each selection heading design uses the definition of the selection for its background while using the yellow and offset gray main word in the middle. I chose to keep that pattern of having the definitions as the background design to keep everything unified with the main exhibition. Showing that words and type can be a pattern design of its own and still look good.
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ART-4290 Exhibition Proposal Salinas Cardenas
idea, the most general of these terms, may be applied to anything existing in the mind as an object of knowledge or thought, concept refers to a generalized idea of a class of objects, based on knowledge of particular instances of the class his concept of a republic; con ception, often equivalent to, concept, specifically refers to something conceived in the mind, or imagined my conception of how the role should be played; thought is used of any idea, whether or not expressed, that occurs to the mind in reasoning or contemplation she rarely speaks her thoughts; notion implies vagueness or incomplete intention I had
EARLY IDEAS
MOOD BOARD / EARLY IDEAS For the beginning of this project, I based it off of my BFA Capstone project, The Feminist History of Typography. With this idea still fresh in my mind. I chose to focus this project on the history of typography as a whole with a subselection on the Feminist History of Typography in this exhibition as well. For this exhibition, I wanted it to be fun with typography and show that type is more than letters that you see and use every day. That type can be fun and created and have a personality of their own base of the style of font you use. So in this mood board, I wanted to capture that playfulness of type as well as inform people about the long history of typography. These were ideas and inspiration that I try to base my exhibit on and recreate for this project.
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ART-4290 Exhibition Proposal Salinas Cardenas
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SKETCHES This was the beginning stages of the layout plan for how my exhibit would live inside SUMA and use the space effectively. The top two were the sketches and the paper layout of objects. This idea as a good start for it but the scale of it was too big and the thought process wasn’t completely there yet. The last three sketches are the layout plan I’ve ended up using. with more of a flow on how to go from each area and can enter and leave from any side and still see it all. This layout worked out way more for breaking up the area into the selections I wanted to focus on more for this exhibit.
ART-4290 Exhibition Proposal Salinas Cardenas
LIST OF OBJECTS Reading Area • Book Shelves of Typography and Design Books • Seating Area • Metal Letter Wall
Calligraphy Area • Chalkboard • Calligraphy Work Activity • Calligraphy Art Work and Posters • Type Design/ Type Specimen Posters
The Feminist History of Typography Area • Feminist History Timeline • Feminist Typography Illustrations • Vinyl Letters and statements • Seating Area
History of Typography Area • Vinyl Timeline Lettering • Vinyl Title Wall • Vinyl Letters and statements • Seating Area • Letterpress Machine • Letterpress Materials • Letterpress Posters
This is a list of objects that I would need for this exhibit. I break it up into the different areas and the objects that would have to be collected for this exhibition. A lot of the object is type design posters. My idea for that is to contact design museums or museums with design collections to see if they would lead us some posters from their collections to use for this exhibit. Everything else in this we can design and create ourselves to make this successful.
Typewriter Area • Typewriters X3 • Example of Typewriter Works • Typewriter Printing Activity
Back Area • Barbara Kruger Art Type Room • Examples of Type Design Poster Throughout the Decides
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ART-4290 Exhibition Proposal Salinas Cardenas
Master plan or blueprint of a printed or published work such as an advertisement, book, magazine, newspaper, or website that lays out the arrangement of its different graphic elements such as body copy, colors, headlines, illustrations, scale. It establishes the overall appearance, relative importance, and relationships between the graphic elements to achieve a smooth flow of information (message) and eye movement for maximum effectiveness or impact. Often alternative layouts (called roughs) are prepared to explore different arrangements before the final layout is
LAYOUT
LAYOUT FLOOR PLANS
Letterpress Posters
Seating
Letterpress
Overview of the history of typography
Letterpress Posters Seating Type Specialmen Posters
Type Design Posters
Calligraphy Examples
Typewritng Examples
Typewriter Area
Chalkboard Typewriters
Metal Letter Wall
Work Table
Type Design Posters
Barbara Kruger Type Room Art
The Feminist History of Typography
Letterpress Area
Type Design Posters example from different decades
Seating
Seating
Calligraphy Area
Seating
Book Shelf
Book Shelf
Detail Time of the History of Typography
Intro of the Exhibiton
Title Wall
Type Book Reading Area
Detail Time of the History of Typography
Calligraphy Artwork
Seating
This is the floor layout on how I would use the space and break it up into those different areas and selections to scale in SUMA. Everything in white walls I would have built for this to create that element of surprise around each corner leading into the different areas and an easy way to go between those areas as well. There will be a few physical larger items that would have to be brought into this space. But everything else can be on the walls that are labeled along with the floor plans.
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ART-4290 Exhibition Proposal Salinas Cardenas
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LAYOUT 3D MODEL This is the 3D model of the floor plans in Sketchup. This helps show how this would look like in the physical space before actually putting it inside SUMA. This model also helps show perceptive on the height and size of objects in the space I have created.
ART-4290 Exhibition Proposal Salinas Cardenas
History Timeline/ Letter Press Area
Reading Area This is some close-ups of some of the different areas that I want to focus on designing for the exhibit. In Sketchup, I added some items that would live in this space and see how it would look like in scale compared to the rest of the space.
Calligraphy Area
Feminist History Timeline Area
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ART-4290 Exhibition Proposal Salinas Cardenas
Rendering is the process of generating an image from a model, by means of computer programs. Also, the results of such a model can be called a rendering. A scene file contains objects in a strictly defined language or data structure; it would contain geometry, viewpoint, texture, lighting, and shading information as a description of the virtual scene. The data contained in the scene file is then passed to a rendering program to be processed and output to a digital image or raster graphics image file. The term "rendering" may be by analogy with an "artist's
RENDERING
HISTORY OF TYPOGRAPHY TIMELINE AREA First Moveable Type
The first know movable type was accredited to Chinese inventor Bi Sheng during the Song Dynasty. Before the invention of movable type printing, characters are
engraved in one big block, that was time
consuming and costly.
Each block can only
be use for one book. The invention of the movable type changed how ancient China printed its documents and made printing more effecient and easier.
990-1051 AD Gutenberg Press
Johannes Gutenberg invented the printing press in Germany. His invention made mass
production of printed works possible. Most
notably, Gutenberg undertook the printing
Roman Type
William Caslon, an Englishman,
first Roman type was created by a
serifs and much more
when printed. The
frechmen Nicholas
Jenson that was very clear and legible and caught on quickly.
It was inspired by the text on ancient roman building.
created the Caslon
Firmin Didot worked in his family’s printing firm from a young
which features straighter
type designer and created
typeface. The typeface
1470 Italic Type
After Roman, there was Italics. It was created by Aldus Manutius from Italy. It is a more slanted and
stylised verson from Roman Type. It was
of the 42-line Bible.
designed to fit more
The Gutenberg Bible is the most famous work that was printed using his machine. This invention made
design detail or for emphasis when writing.
reproducing books a lot easier in Europe.
1440
letters on the page to save the printer money. Today, we use italics as a
1501
age. He became a skilled
as
Old
Style
It was the first to be
categorized as a Modern Style typeface. Modern Typefaces are characterized by creating extreme contrast than ever before, with vertical stress of thick and thin lines.
type.
1722 Baskerville
attempted
improve upon Caslon’s
to
that made it easily and quicker to set lines of type for printing presses.
Baskerville. The typeface is calligraphic because of the strong sharp contrast between the thick and thin strokes serifs. Today, this is an example of
Style
1757
type.
1886
Sans Serif Type
William Caslon IV created the first typeface without any
typeface by creating
Transitional
Gutenberg. This device
1784
Transitional Style Type John
A German Inventor, Ottmar Mergenthaler created the Linotype
Machine. Sometime called the second
the typeface, Didot.
obvious contrast between thin and bold strokes. It was widely popular in England and America. Caslon was the font used for the Declaration of Independence. It is now
known
Linotype Machine
Modern Style Type
Old Style Type
Gutenbergs Blackletter was great for scripting, however appearted dense and squished
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 variations were being created to accomodate advertising.
1816
Geometric Sans Type
German type designer Paul Renner
designed Futura.
This style is marked by use of basic geometric
shapes to create
clean forms. Futura is a good example of geometric sans.
1927
The History of Typography Timeline area is one of the first areas that would be seen by visitors. This area shows and talks about the history of type long the main large wall of the museum. I wanted to keep with the color scheme of light yellow, gray, and white. Ideally, this wall would be coved with vinyl talking about different important moments with a graphic showing it. On the movable wall, both sides will have a quick overview of this selection before walking into it. In this same area, there is the Letterpress machine and activity area. In this rendering, I show some letterpress posters that would be displayed in this selection that would be with the letterpress machine. I hope on the weekends and the opening and closing of this exhibit would have demos of the letterpress and let people try it out under this supervision and take something with them that they created at this exhibit.
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ART-4290 Exhibition Proposal Salinas Cardenas
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THE FEMINIST HISTORY TIMELINE AREA Nadine Chahine B. 1978
Prize-winning Lebanese type designer Nadine Chahine created the Arabic versions of ‘Helvetica,’ ‘Frutiger,’ and ‘Palatino.’ She also received a TDC award in 2008. Her studies there focused on the relationship between Arabic and Latin scripts as well as the possibilities of combing the two. Chanhine taught Arabic type design at the American University in Dubai and in Beirut. In 2007, she began a Ph.D. program at Leiden University in the Netherlands, where she researched the legibility of Arabic scripts.
Zuzana Licko B. 1961
Facilitated by a solid knowledge of programming, Licko experimented with fonts early in her career in the FontEditor program. In 1984, she and her partner Rudy VanderLans founded the magazine Emigre which soon began to regularly feature Licko’s font designs. In the 1990s, she developed fluid and elegant fonts such as ‘Mrs. Eaves’, which is based on ‘Baskerville’ and named it after ‘Mrs. Eaves’ features an exceptionally high number of ligatures.
Carol Twombly B. 1959
Although her ‘Trajan’ typeface has become omnipresent and though ‘Myriad’ reigns as the system font on Macintosh Computers, the designer who created them, Carol Twombly, is not widely known. Her first font, ‘Mirarae,’ resulted soon afterward and received first prize in a 1984 competition sponsored by Morisawa. In 1994, she was the first woman to win the Prix Charles Peignot. By 1999, she had already retired from traditional fonts; ‘Lithos’ and ‘Trajan’ are inspired by ancient and Roman typefaces.
Jill Bell Started Working in 1980
The type designs of Jill Bell demonstrate her affinity for calligraphy and her appreciation of spontaneous forms, particularities, and irregularities in the script and type design. She also creates brand
Freda Sack B. 1951 - D. 2019
Kris Holmes B. 1950
The First Lady of Typography
Beatrice Warde The American typographer and author Beatrice Warde discovered her interest in calligraphy during her studies at Columbia University. She expanded with knowledge of the history of typography and printmaking through her work as an assistant at the library of the American Type Founders Company from 1921 to 1925. Today she is known as the “First Lady of Typography,” having been one of the few women who made a name for themselves in typography prior to the computer age.
Arts Review. She lectures widely and has spoken at conferences including TypeCon, AtypI, TypoTechnica, and TypoBerlin.
Holmes became known for her typeface designs which were developed in collaboration with Charles Bigelow. In 1976, they joined together to form Bigelow & Holmes, a foundry that has since produced over 150 typeface designs icluding with TrueType adaptations of ‘Monaco,’ ‘Geneva,’ and ‘Chicago.’ The font family, ‘Lucida’, which was initially created especially for low-resolution laser printers,it evolved to be one of the most versatile typeface families. ‘Lucida’ is installed on all Windows computers.
“a woman could know any thing about printing, typography, and such a s.”
B. 1900 - D. 1969
Johnson. Her designs have been publicly exhibited and published
In 1978 Sack was appointed senior type designer at Hardy Williams Design in London, where she worked on campaigns and corporate typefaces for clients such as the British post office and Renault. In 1990, she partnered with David Quay to open The Foundry, through which the two marketed their own typefaces. Additionally, she developed The Foundry’s typeface library. She also designed for companies lik WWF, Swiss Airlines, and Yellow Pages.
Rosemary Sassoon B. 1931
Sassoon gained a Ph.D. for her work on the development of the ‘Sassoon Primary’ Typeface, which is modeled on fonts found in early twentieth-century school books. The ‘Sasson’ type family already encompassed more than twelve typefaces for different educational purposes. In addition, Rosemary Sassoon has turned
“They had never hired a woman in their place above the rank of secretary and had no idea how to deal with ‘her.’ But I got the job with the use of a secretary and part of a desk.”
Veronika Burian
influence the absorption of information. She has published extensive textbooks related to her fields of research.
B. 1973
In 2003, Burian completed her master’s degree in typeface design at the University of Reading, graduating with distinction. Her typeface, “Maiola,” was awarded the TDC Certificate of Excellence in TypeDesign in 2004. Together with Jose Scaglione, a former classmate, she founded the type foundry TypeTogether in 2006, which has become known for legible typefaces with unusually distinctive details. Their fonts are frequently used in magazines and have repeatedly received the European design award.
Sara Soskolne B. 1970
After ten years of practicing as a graphic designer in Toronto, Sara Soskolne enrolled at the University of Reading where she received her master’s degree in typeface design in 2003. In addition to her
B. 1956
tion of legal licensing standards for typeface designs. She was actively involved in the calligraphy debate of her time and designed several typefaces with calligraphic qualities — ‘Hiroshige’ and ‘Tiepolo’ numbering among the most successful. She started AlphaOmega Typography in the mid-1980s to develop and distribute her own font designs and founded the Typeface Design Coalition for the legal protection of typeface design.
the sans serif lower case in the types of the nineteenth century. In 2005 she returned to Canada, where she has since worked for Hoefler & Frere-Jones. She teaches at institutions such as Yale University and SVA in New York.
Salinas Cardenas Graphic Design
The Feminist History of Typography, 2020 Vinyl graphics, illustrations, softcover book This exhibit celebrates and gives recognition to some amazing women that havechanged how typography is used and seen today. You may not know their names, butyou have definitely seen their work before. I chose to do 15 women typographers whohave made a difference in the world of typography within the last century. Out of these15 women type designers, I highlight 5 type designers to be displayed fully on the timeline. The timeline shows the progression and the increase of women type designersin the field as we head towards the modern century. In addition to the timeline, I created a book that further showcases each woman and the fonts they have created in greater detail.
Susan Kare B. 1954
Susan Kare is “the woman who gave apple a face.” She designed the first icons for the Apple Macintosh, and her influence on the operating system’s metaphoric interface is still evident today. Her typeface designs ‘Geneva,’ ‘Monaco,’ and ‘New York’ have also enjoyed lasting popularity as system fonts. ‘Chicago’— the most prominently used for the interface of the Classic Mac OS and the first four IPod generations — is regarded as her most famous font design. She won the 2001 Chrysler Design Award.
Gudrun Zapf-Von Hesse B. 1918 - D. 2019
Gudrun’s first typeface, ‘Diotima’ , for Stempel, remains one of the most popular fonts for premium prints. Her clients weren’t only German companies, but also American firms such as Hallmark in Kansas City, for which she designed the font ‘Shakespeare’, or for Bitstream type foundry in Cambridge, for which ‘Carmina’ was produced. In the USA, Zapf-von Hesse typeface has been fea tured in numerous exhibitions and received the Frederic W. Goudy Award for outstanding contributions to the printing industry.
Patricia Saunders B. 1933 - D. 2019
Patricia is remembered for her contribution to the series of typefaces produced by Monotype in the early 1980s. These typefaces which were adopted by Microsoft as their core fonts, most notably one is Arial. These fonts were co-developed with Robin Nicholas and based on Monotype Grotesque as well as script face Corsiva. Patricia will long be remembered as a role model for aspiring women type designers, and her contributions to type design will continue to inspire further generations working in this field.
Margaret Calvert B. 1936
Calvert collaborated with Jock Kinneir and was commissioned a new motorway signage system - on the design of traffic signs throughout Britain. They developed the typeface, ‘Transport’ (an optimized version of Akzidenz Groteskfor), for this purpose. Its and combination of majuscules and minuscules, whereas previous road signage has typically used only capitals.
The Feminist History of Typography area is near the back of the museum and takes up the whole back wall. I wanted to have a special isolated area for this timeline since this gives recognition to these women and their contributions to typography. I expanded my original project and made it bigger and take up the whole wall by showing all 15 women on this timeline. I also use the pattern I've created for the movable walls inside of this area to show the area you are walking into. I would like to have a copy of the book I created in this area so people can read it while sitting here and viewing it as well as sell copies of the book in the gift shop.
ART-4290 Exhibition Proposal Salinas Cardenas
CALLIGRAPHY AREA
The calligraphy area is near the front of the museum and the first thing you could see is you enter through the reading area. This area is to show examples of calligraphy and how it transforms into typography since writing letters was one of the first things we did in history. I'll have two activities here, one is the chalkboard with the line outline of the words "History of Typography" So people can create and make their own fonts using the saying on the board. It is something creative and fun that is easy to do and interact with. The tables will have the second activity of practicing calligraphy with pen and ink. This would show how to recreate some letters from using calligraphy techniques. This is another way people can interact with it and take something home and remember this exhibit.
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ART-4290 Exhibition Proposal Salinas Cardenas
An exhibition, in the most general sense, is an organised presentation and display of a selection of items. In practice, exhibitions usually occur within a cultural or educational setting such as a museum, art gallery, park, library, exhibition hall, or World's fairs. Exhibitions can include many things such as art in both major museums and smaller galleries, interpretive exhibitions, natural history museums and history museums, and also varieties such as more commercially focused exhibitions and trade fairs. Advertising is a
EXHIBITION ADVERTISEMENT
EXHIBITION TITLE WALL
The exhibition title wall is the first thing that you will see when the first wall in. I chose to do a little bit of lighter colors for this, so it won't be so heavy black or white. I went with a light yellow and gray for the color scheme. The main title name I did in yellow with an offset of the gray outline. To show how printing is never perfect and to have some fun with the title. I chose to do something different with the background of the title by using the definition of the word typography for it in a lighter gray while the main title breaks it up in the middle. The background text isn't as important but is still readable if desired to with the last line highlighted in yellow of the subtext of the exhibit.
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ART-4290 Exhibition Proposal Salinas Cardenas
SUMA
HISTORY TYPOGRAPHY
TYPOGRAPHY
SUMA
OF
HISTORY TYPOGRAPHY
OF
HISTORY TYPOGRAPHY
Lorem ipsum dolor sit amet, consectetuer SUMAelit, sed diam adipiscing nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tat ion ullamcorper suscipit lobortisnisl ut aliquip ex eaApricommodo l 1 - July 30consequat. Duisautem vel eum iriure
Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, HISTORY quis nostrud exerci tat ion ullamcorper suscipit lobortisnisl ut aliquip ex eaTYPOGRAPHY commodoconsequat. Duisautem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et 1 -odio dignissim qui blandit praesent accumsan April et iusto luptatum zzril delenit duis dolore te feugait nulla facilisi. July 30,augue 2020 Lorem ipsum dolor sit amet, cons ectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat.
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OF
adipiscing elit, sed diam sed diam sed diam sed diamsed diamsed diam nonummy nonummy nonummy nonummy nonummy nibh nonummy euismodnibh euismod
OF
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EXHIBITION SIGNAGE
Outside exhibition signage that would be displayed outside of SUMA. Using the color scheme and pattern design, I created simple signage to advertise the exhibit. I liked the big window signs on the outside of the museum. I chose to keep it simple by showing the title, the date, and the museum name. I kept the text light in the background with Lorem Ipsum text. I did two different versions with a white background and a yellow background. I chose to make the date and SUMA text also the same way as the title text. I also wanted to use the flag banner signs creatively. I chose to break up the title to fit on the five banner signs, so when you are looking at it walking/driving down the street you can read it like it was one sign with the dates and SUMA's name.
ART-4290 Exhibition Proposal Salinas Cardenas
EXHIBITION SWAG For exhibition swag, I chose to design a few options that type lovers or designers would like to have or use. For this, I still use the color scheme and the title design. I created a postcard that someone could get with two different options of colors (white and yellow). I thought it would be fun to have tickets for this exhibition as a keepsake to remember it. I also design some tote bags about it. The first one is just the name of the exhibition printed on the side of the bag. The second I thought it would be fun to have different definitions of some of the fonts on the bags, so you can pick your favorite font and have a short history of it on your bag in that font as well. The example I used is Mrs. Eaves typeface by Zuzana Licko. I would also sell my book, the Feminist History of Typography as well in the gift shop, so people can have a copy of that if wanted.
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ART-4290 Exhibition Proposal Salinas Cardenas
Created by Salinas Cardenas in the Spring semester 2020 at SUU