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Introduction Brief Concept This project aims to identify the effects and influences typography can play in shaping and developing visual culture. As well as its ability to reflect and enrich cultural identities of the future. Exploring the themes of globalisation and multiculturalism to better the understanding of why type matters and how it can influence.

Brief: The practical aims to highlight these diversities and show an understanding how of typography changes in light of cultural, social and technological fluctuation.

Concept: A printed poster displaying a extensive knowledge of typography, illustrating some of the many changes that have occurred in type design over the last 150 years. Displaying these themes in clear and direct communication.

Aims:

Target Audience:

Illustrate the relationship between typography and a specific region or place or era in culture.

Creatives, designers, typography enthusiasts.

Students, Artists. Anyone with an interest or a desire to learn more about typography and the history of type design.

A visual outcome that highlights the differences/ lack of differences with different typefaces associated with a culture. Communicating the fundamental of what we know and what this indicates. (Getting the audience to think) At the forefront of this project is the idea that type is not a fixed entity, it changes, tastes change and it is within types use that dictates the change.

In terms of format, a large poster, communicates information quickly, and can display a large amount of different information. It can also communicate without the need for any extra supporting content.

Considering the target audience, the practical requires a high level of typographic detail. The correct typographic terminology. As well as appreciation for space, communication and the overall delivery being to a high standard.

An appreciation and advanced layout and communication. The outcome must be visually interesting as well as a new comment on type.

There should be a clear link to the theory explored in the essay, looking at cultural changes, there effects on type and other outside influences like technology.

This project aims to display information that people don’t know about, something that challenges their perceptions of type, is very interesting or possibly new..

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Postmodernism or the cultural logic of late capitalism, Fredric Jameson.

Open World :/ The Truth About Globalisation, Philippe Legrain.

The theory in this book explains how culture is marginalised and influenced by the market.

It touches on how pastiche is central to this formation of culture. That there is nowhere else to look but back to the past for influences. This book has defined what postmodern (multiculturalism) is today and how this would influence the visual culture that comes with it.

This book gives information about globalisation, that in some ways is an after shock of postmodernism, looking at how our lives are increasingly interconnected and how the world seems to be getting smaller because of this.

In terms of typography, there is a response to the change in culture, typefaces are more influenced by multiculturalism than ever before.

The type designs of Jonathan Barnbrook are the embodiment of pastiche, looking at past styles, taking inspiration from medieval carvings, church yards and other iconography. Taking influence from these designs and forming typefaces in response to the era they have been designed.

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Legrain’s argument is that it is not all bad, that through globalisation the world can become a better place and that development is vastly increased in light of this.

This book offers a refreshing view of globalisation, commenting on, not the destruction of culture but the formation of new cultures. Through regional languages developing in light of globalisation, The typography would then responds to this, hybrid typefaces of two languages would begin to be formed. In light of the more multicultural world of the present day.

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No Logo Naomi Klein

David Crow, Visible Signs

This book also gives a view of globalisation, however its view is much less confident of this being a positive change, it looks at the topic of Americanisation and how consumerism appears to be taking over culture.

This book gives an introduction into semiotic theory and why semiotics can reveal things that standard analysis might not.

Klein argues that logos become the most widely recognisable language in the world, and that market driven consumerism is not aiming to be part of culture but to replace the culture itself.

Subsequently typography in response to this Americanisation would change, there would be profound effects on what is understood as language and categorised into typography. Logos taking the forefront in this language and type responding to this.

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The theory associated with semiotics is somewhat complex, yet allows for a deeper understanding of what is defined as meaning in visual language.

In terms of typography semiotic analysis is fairly unknown and especially in Sans Serif typography, the minor details are difficult to interpret. Overall this book has shown the basics in semiotics and outlined why it is a useful medium for analysis.

The writing of Ellen Lupton gives an insight to the structures that dictate the connotational signs associated with type. This further semiotic analysis of type has been central to the research of the project and the ability to draw connections between typefaces reflected in the practical outcomes.

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Idea Development These initial five ideas each look to response to the project in a different way.

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1. A series of visual test that test the viewers knowledge of the origins of type as well as its time period. Explore the preconceived ideas of typography.

2. A typeface that looks to combine type from two varied cultures that have come together through multiculturalism and globalisation. e.g. Spanlish of South America. Looking at the current type that is associated with each and bringing them together.

3. A publication showing use of type in countries and how they differ. Aiming to show why certain countries use certain type styles and plotting the history in light of recent cultural diversity.

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4. A poster displaying some of the preconceived typefaces associated with regions and countries. (DIN - Germany) (Johnston - London).

Displayed in a poster to inform the view of these connections, highlighting the differences and constant characteristics.

5. A guide to semiotic analysis of type. As it is something not often undertaken a guide to identifying the signifiers. Exploring the minor details in type design.

These five ideas set a basis to work to throughout this project, the final poster design brings together a number of elements from each to get the best communication and connection to the written piece. Through feedback and experimentation into each of these ideas that the final concept has arisen.

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Idea Development Typographic Posters exploring the typefaces that have become linked to a place or region. New York and Helvetica. London with Johnston Sans.

Germany with Din Condensed.

The posters aim to demonstrate how just typography and colour and a few key shapes and symbols can begin to create a recognisable graphic outcomes that appear iconic to a region or place.

Overall the communication is clear yet this acted as more of a simple experiment and further development was be needed for this to be considered a final practical.

The poster below is one of three different posters aiming to highlight the minor details that would in turn define where the type has been designed. Using the end point of the letter forms and the angle to try and show one being from, Britain, Germany & Switzerland. Again this experimentation was of use when researching but didn’t represent a finalised and interesting idea.

To the typographic poster displaying some classical typefaces, with a proposed place of origin or language that relates to the typeface.

Inviting the viewer to question what they think of types connections to a country or region. Once again looking at ‘stereotypical’ typefaces and if they can be defined as ‘German’ and vice versa.

These ideas worked as more of a starting point and was interesting to see if they would go anywhere. Through they were not really reflective of the amount of knowledge and development that has been carried out throughout this project.

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Feedback Small crits have allowed for feedback from peers as a change from normal tutor feedback.

First describing our idea and create 5 initial questions that we needed the answers to.

at overlaying type together, as this would further highlight these minor details.

In response to this feedback some more refined outcomes and experiments were carried out.

What is the best format for the practical?

- As I explained I wanted to create a visual poster that proposed the question ‘can type be categorized into cultural subgroups, and are these clear or not.’ As explained a poster is a really visual way of getting your point across. As well as a way of relating to visual type. Another point was that these could also take up animated and moving form, to further aim to highlight the details.

Is there a need for a response/quiz style answer? or is the subjectivity important?

As I explained I felt there possibly wasn’t the need for a recorded response, and it is more about getting the audience to think about it rather than voice there opinion. This seemed to be the same answer across the feedback and that the information collected after may not be relevant to the essay.

As explored in the essay the work of Jonathan Barnbrook is in a way the embodiment of pastiche, looking at past styles and allowing them to be influential on his type designs. This book the Barnbrook Bible explains his process of designing and his large range of influences.

Should it be limited to Sans Serif type?

As the essay is about Sans Serif type it is important to see if within the practical it should be expanded. Furthermore the essay does include an analysis of a serif typeface to give context to the cultural changes in typography. - The feedback was that a range may be more useful, but that there is more minor details that would be highlighted further in just Sans Serif.

The typeface Bastard is an example of recontextulising German black letter type and creating a modern and unique typeface from this. Barnbrooks designs and design theory in how he uses influences from the past to inform contemporary typography shows a more culturally diverse and multinational approach to type design. This would need to be reflected in the posters design.

How can it relate further to Semiotics?

The feedback was that this could be the medium in which the type is analysed, and the way the details are highlighted.

Fuse 1-20 gives insight into experimental type design. Created by Neville Brody and Jon Wozencroft, the book explains many processes in experimental typography in response to cultural and social changes as well as developments in technology. This book really celebrates experimental type design and gives examples of typefaces that can be downloaded.

These typefaces are as much about pushing boundaries as anything, the designs are not confined to worrying about legibility but rather explore themes of shape, size, what constitutes a typeface and how will type design change in the future. The typefaces featured in the book are a perfect example of the developments of type, therefore there inclusion was imperative in the poster to give a further context in type design.

Is the poster format the best and most appropriate?

The across the board response to this was yes, it is a visual and impacting medium, but it could be expanded upon into some moving examples.

As well as that it is important to consider the size, as large would further highlight the details of the type. An additional piece of feedback was to look Sammy

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Production & Format

Alfred Barr’s cover of the book Cubism and Abstract Art. The two images show historical info-graphics displaying the progression and influence of art over time, this format shows an interesting web of information that can be charted. The use of arrows allow for an interesting understanding of what has gone onto influence other artists. The time line gives an additional indication to the history and the progression.

This image represented an idea for the practical piece, that there is an opportunity to express all the knowledge and development of the project in a poster form that would draw interesting connections between typefaces, as well as create an exciting and graphically complex poster.

There was much to be considered with this kind of infographic, when would it start? What typefaces would be taken into count? If the typefaces in mentioned will be used in the design.

Overall the typefaces included represented a large range of typographic history.

There is an inclusion of the place in which the work has been created for example (Bauhaus, Weimar, Dessau) - This for the poster designs gave an opportunity to explore the connections between typefaces and place of origin. Giving a further insight into the roots of the typeface and if this gives a further insight into if these have in turn enriched the culture they are situated.

The designs would also include some more experimental typefaces that further highlight the postmodern and multicultural nature of type design today and its progression over time.

This theme (info-graphic chart) gives an insight into the influences of typography in the 20/21st century and charts some interesting influences that occur. The of arrows is key in this posters design, so a effective use of arrows would be considered. Considering the large size of the poster there would be further levels of detail throughout to further the intrigue relative to the target audience.

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Development In response to the research into art history infographics charting influences, these initial designs were created. Using the same basic set up of dates on the left and right side of the page, this creates a clear connection to the year each typeface has been created.

Starting with a few core typefaces the initial communication was important to consider. A attribute of the poster that needed to be included was a variety of reading approaches. To be able to get information from a quick initial glance as well as further more in-depth information after closer inspection. Using some of the more iconic typefaces like Helvetica & Akzidenz Grotesk very large would be key to this multidimensional communication.

A number of colour mono-tone combinations were experimented with, within typography it is important to highlight the space between letters as much as the letter themselves. The black white and grey experimentation is the most effective colours to highlight the types detail fully. Through a number of opinions and feedback the black background was highlighted as the most appropriate. Due to the dynamism of the poster and how it ensures quick and direct communication.

The size of the poster has been a large influence in the type sizes selected, printing out the poster as much as possible at actual size would allow this communication to be perfected.

The way the type has been kerned is Appropriate to each typeface as well as its location on the page. Ensuring the communication of the connections between typefaces would be seamless.

In terms of research, looking at examples of type themed artworks. Type Trumps (Playing cards, Just My Type (book) both have been designed for the type design community. The use of type is impeccable and shows real clarity and innovation.

The typographic quality of Type Trumps and the writing in Simon Garfield’s book have been inspirational in the design for the poster. This same level of typographic appreciation and information was something that aimed to be carried into the practical. In response to the use of blue and black on white in the Type Trumps a colour combination was explored though its communication wasn’t direct enough.

The use of photographs of the Trajan column was experimented with, in response to feedback, although it showed less connection to the rest of the poster and was not continued into the final imagery.

Another change that occurred through feedback was the inclusion of technological points to show how the type has changed in response to this, for example the invention of the Mac Computer in 1984. This shows more of a connection to the essay and how type an ability to change in response to developments whether cultural or technological.

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Bodoni

114 AD Trajan Column Rome

Past -

1740–1813 Giambattista Bodoni Parma, Italy

Fette Fraktur d e r n

The A1 poster has been printed on bright white G.F Smith colour plan paper, to emphasize the black ink and highlight the typographic details.

This extra level of detail and quality materials reflects the kind of work that appeals to typographic enthusiasts.

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H o t

M e t a l

Ty p e

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1850 Johann Christian Bauer Frankfurt, Germany

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18 8 6

Year

A History of Modern Typography

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Final Outcome

TRAJAN

Year

m a c h i n e

Akzidenz Grotesk

s t H u m a n i

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- 1890 -

1896 Günter Gerhard Lange Berlin, Germany

1900 -

- 1900 G e o m e t r i c

Johnston Underground

1920 -

1940 -

194 9

1950 -

Optima

1960 -

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D i g i t a l

1931 Deutsches Institut für Normung, Germany

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1954 Adrian Frutiger Zurich, Switzerland

1957 Max Miedinger Basel, Switzerland

1958 Hermann Zapf Frankfurt, Germany

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Helvetica Univers

P h o t o t y p e s e t t i n g

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t y p e s e t t i n g

eo

m

e

ic tr

New Alphabet

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1967 Wim Crouwel Amsterdam, Netherlands

1970 H u m a n i s t

Architype catalogue solid.

Shatter

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1970 Wim Crouwel Amsterdam, Netherlands

m ri e

AVAN GRDE

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M a c i n t o s h

k -g o e

2010 Matthieu Cannavo Puig, France

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2012 A collective France

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1978 Hermann Zapf Frankfurt, Germany

- 1980

Typeface Six & Seven

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1991 Neville Brody London, England

- 2000

F COGDIS 2012 Tom Balchin London, England

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l nt a me er i Exp

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Résistance

2012 Jonathan Barnbrook London, England

F NEURAL 2012 Neville Brody London, England

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F Ratter

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2010 Lucas Le Bihan France

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Sporting Grotesk

- 1960

Zapf Dingbats

FF Blur

s ro

te

MIxO

1962 Aldo Novarese Turin, Italy

1970 Milton Glaser New York, United States

I c o n s

a

m ri

Present -

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Eurostile

1992 Neville Brody London, England

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2009 Margaret Calvert Jock Kinneir & Henrik Kubel London, England

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st ni

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2010 -

1999 Jim Marcus Chicago, United States

New Rail Alphabet

1990 Jonathan Barnbrook London, England

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1994 Hoefler & Frere-Jones New York, United States

1996 Matthew Carter California, United States

Arete Mono

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Knockout BASTARD

Verdana

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2000 -

Hu ma ni st

- 1940

- 1950

&

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1992 C.Twombly & R.Slimbach California, United States

D e c o r a t i ve

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S y m b o l s

Myriad Pro

N

A p p l e

- 1930

1929 A.m Cassandre Paris, France

Futura Stencil

ta

1990 -

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Bifur

1968 Milton Glaser New York, United States

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19 84

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Baby T eet h

1978 Herb Lubalin New York, United States

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1976 Wim Crouwel Amsterdam, Netherlands

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1980 -

1973 Vic Carless

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Gridnik

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ro t e s k N e o - g

The practical piece aims to demonstrate something an essay cannot, a large (somewhat) easy to understand graph of typography’s development, in response to changes whether they are technological or social or cultural. As the essay needs long form communication to make its point the poster uses short form communication. It aims to inform the viewer of the typographic connections in a relatively quick communication. A big part of the posters design is that it can be glanced at or really picked apart and would communicate different things. The choice of size and scale of type has been central to this.

Overall the communication of the poster demonstrates an understanding of type and for both existing type lovers and anyone new to the art-forms provides an interesting, and knowledgeable exploration of the topic. The overall communication shows some innovative connections between various typefaces and is a exciting physical embodiment of the themes explored throughout the written essay.

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1927-1928 Paul Renner Frankfurt, Germany

ic e tr om Ge

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N

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Futura

1927 Rudolf Koch Frankfurt, Germany

DIN 1451

1929 Jan Tschichold Zurich, Switzerland

1927 - 1930 Eric Gill London, England

Kabel

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Gill Sans

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tschichold architype

Ge om et ric

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- 1910

1925 Herbert Bayer Dessau, Germany

Hu ma ni st

1916 Edward Johnston London, England

Bayer Universal

N e ogr ot es k

1910 -

The choice of typefaces throughout reflect a overall history of modern typography, aiming to show the iconic players in terms of influential and reflective of changes in conventions of type.

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- 2010

F Camou-urban 2012 eBoy London, England

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- Present

High quality images of the poster are important for any further distribution and online coverage of the project, exploring some interesting photographic compositions to show the poster in the best light possible.

All in all the practical acts as a visual aid to the essay, drawing many more connections between typefaces from a range of areas and countries.

An important part of the whole project is to see if cultural diversity would have an effect on typography, this is explored in the later parts of the posters design to give context to these changes illustrating a history of modern type.

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Evaluation The aims throughout this project have been to gain a wider understanding of what governs the creation of typography in light of cultural, social, and technological change, and if typefaces can subsequently be subcategorised based on the place or region of their design. Through the research and writing of the essay it was made apparent that typefaces don’t often carry these definitive characteristics. Although certain typefaces can have a large impact in defining a ethos or be a signification of a cultural change.

It is clear that any artwork must be considered with the era it is designed and this connection is unavoidable. Though what was made clear is that these associations are much more susceptible to change compared to other arts.

Considering this, in the practical it proved very difficult to create a physical embodiment of type’s cultural subgroups, even though this idea was explored in many different practical ideas the final outcome highlighted more technological connections rather than cultural. The project overall was an exploration of type from a more outside perspective, as I have little experience in creating type and not prolific in type design it was important to look at type from a more analytical and theoretical perspective. Therefore within the practical this more theoretical view on type was important to highlight. The practical as previously explained aimed to do what the essay couldn’t demonstrate an understanding of the connections and influences of type in the history of modern typography. The aim for the practical from the start was to create something interesting and show some information that would be new and communicate it in a direct and information based format. The idea for the practical didn’t take fruition until research into ‘Alfred Barr’s cover of the book Cubism and Abstract Art.’ This was hugely influential and acted as a great inspiration to the practical work. Overall the practical communicated what was originally intended.

The direct nature of the poster and high level of typographic information would make it a desirable poster for any type fanatic. Relating to the target audience outlined early on.

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In terms of the essay’s overall argument an aim from the outset was to learn some new things about typography’s meaning, this has most definitely been achieved, the semiotic theory explored not only was a real test of writing and understanding the complex language, but through these semiotic explorations a much more developed understanding of what governs typography’s meaning and how this can be associated to culture. A great strength of this project has been the exploration of a large number of themes, not only looking into the cultural impacts but much wider, and subsequently how these themes come to be embedded in typography.

In terms of what could have been improved on or explored further throughout this project, it would have been interesting to ask some type designers their own views if type can be culturally categorised and when designing if there is an acknowledgment of the impacts and associations of culture build into the typography.

Furthermore in the practical an exploration of type’s use and how this effects the context it is read and associated. This might allow for a deeper understanding of what really defines type to feel ‘British’ or ‘German’ etc. The practical project can be seen as the physical embodiment of knowledge developed throughout this project and reflects an understanding of the influence of type can play in shaping the visual language of an era or cultural ethos.

All in all this project has really pushed skills in analysis, writing and the ability to create a practical piece that fits with a fairly complex written piece. The overall content has been researched, developed and carried out to a high standard and with constant feedback from tutors and peers to ensure the project is interesting and intriguing. Creating a high quality final outcome supported by a extensive body of research and development that builds upon the theoretical explorations of the written piece.

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