338.01 Type Zine 2016 - Ashley Vong

VOL. 7

WINTER 2016

THE EVERYDAY ISSUE

TYPE & STUFF

TYPE & STUFF 1

CONTENTS

16 18 20

BEST COVERS 0F 2015

TYPEFACE QUIZ

FEATURE: JON CONTINO

36 38

TYPEMAKER’S MATCH

MID CENTURY MODERN

4

LETTER FROM THE EDITOR

6 10

HAND LETTERING

TYPE IN SURF CULTURE

30 34 EVOLUTION OF VOGUE

RISING STARS: NEW TYPES

42 4 8 52 FEATURE: LOUISE FILI

GRAFFITI AS ART

NIKE

54 58 ARABIC TYPOGRAPHY

BUDWEISER REBRANDING

LETTER FROM THE

EDITOR

WHY IS TYPOGRAPHY IMPORTANT TO OUR EVERYDAY LIVES? Most people know nothing about typography, even though they interact with it all day, everyday. How can something so prevalent in our everyday life, be so invisible to so many people? And, if it seemingly doesn’t matter to them, then why should it matter to designers?

Good typography creates hierarchy, which makes clear to the viewer the differing levels of importance each bit of information in the design holds. In a design problem with a lot of information, typography can make the information less intimidating and more easily digested.

Design is a means to communicate content and the most straightforward and unambiguous way to communicate is through words and text. As a result, typography is the most powerful tool that designers have at their fingertips.

Typography determines legibility, creates hierarchy, and communicates meaning.

Typography can also convey meaning that transcends the literal content of the design. Different typefaces and ways that type is combined can have very specific connotations. As a result, designers can use typography in very clever ways to provide the type with additional meaning.

However, this also means that typography can be misused and create an effect that clash-es heavily with content (think Comic Sans for everyday usage.)

For most design, it is essential that the viewer be able to read text easily. The use of great typography is how designers can maximize readability, and as result communicate literal content. Text that is too small, too big, too tight, too loose, and so on, creates a barrier between the viewer and the information. Bad typography can severely hinder a viewer from understanding content.

While not every viewer may consciously realize that they are being influenced by typography, they absolutely are. And because of this, typography matters.

xo Ellen

editor and chief

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HAND LETTERING BJ BETTS (TATTOO LETTERING EXTRAORDINAIRE) ON LETTERING:

There’s so many different artists that do some incredible lettering, and one thing they all have in common, is that the basic shapes and forms of the letters are present, and that they’ve taken that and made it their own, and I think that’s one thing that makes your lettering go from, “ok” to “Pretty damn good.”

A few important things about script [handlettering]; Consistency— Make sure all your letters are the same weight, unless you’re going for a completely different look, [other than traditional tattoo script] but even then, they should be at least in proportion to one another. Same angle— I usually use a rough guideline to make sure all of the letters are on roughly the same angle. No need to get a protractor or a set of calipers to measure it, usually if it’s visually pleasing, you’re good.

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I’ve mentioned that if it’s visually pleasing, you’re on you’re way. Draw it a few times, a few hundred times, whatever it takes, just make it look right. Right to you and right to the customer, which is pretty important since they’re the ones that will be wearing it forever. Also, ask yourself if you would be happy with that if you walked in for a tattoo and the artist showed you that

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drawing!!! And if the answer is anything but “yes” then redraw it, not even “maybe” or “sort of” or “kinda looks ok” Nope. Not good enough. They’re paying for it, and it’s your job. Take some pride in what you’re doing and treat this lettering with the same attention that you would a large tattoo. Trust me, if the customer is happy with some lettering, they’ll definitely

be coming back for their next tattoo, and more than likely will be sending people your way.

I’ve also mentioned treating lettering the same as you would a “normal” tattoo.

Draw the lettering. Draw it the same way you would draw a rose or panther or whatever. If your handwriting sucks, that’s definitely one way to get around that, is

to draw those letters. And this applies to not only script, but with every font. Yeah, it’s easy to trace it, and most of the time, it usually works out just fine, but with script, you need to have some sort of flow to it.

And you probably won’t achieve that with just tracing it.

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TYPE IN SURF CULTUR The media plays a crucial role in defining experiences for the surf culture industry.

Surf art and surf publications throughout the different mediums, have moved with the times in-line with contemporary trends and styles, graphically or technologically.

Styles and popularity of typography and illustration particularly have influenced surf art, both in print and in multimedia. Just look at the advertising campaigns over the last few years for brands like Quiksilver and O’Neill. Very trendy, stylish and contemporary. The media has a massive level of control over how we perceive all things in the world, surfing and surf culture is no exception to this. We are presented with all these cool contemporary images of people surfing‌ the images adorned with fresh and exciting typography, and all kinds of illustration. And naturally, we are drawn to it.

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RE

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THROUGHOUT THE DECADES

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1950’s

1960’s

1950’s surf culture was born with its first mainstream exposure in the movie Gidget.

Surfing then becomes an exciting and fun form for the youth rebellion to invest themselves. The typography during this decade reflects the excitement and “newness” of the sport.

1960’s surf typography is still wild and free, much like the culture. Loose handlettering takes hold on the scene and features scattered formations and uneven or random baselines.

1970’s

1980’s

1970’s surf typography refinements slowly take hold as commercialism is brought into the sport with the emergence of the shortboard.

Australian influence in the sport becomes a major factor with the growing popularity of the Rip Curl brand in the United States.

Typography utilized in Surf culture during the 1980’s is known most for its use of bright neon colors. In packaging, apparel, or branding; neon magentas, greens and blues are prevalent. There is also an inclination towards edgy, sharply angled hand lettering, such as in the Zinka logotype.

1990’s

2000-10’s

During the 1990’s typography in surf culture was more impacted by the growing surf industry, and capitalist endeavors.

Publications such as Surfer magazine led trends, as did brands such as Quicksilver, Santa Cruz, Rip Curl, etc.

Since the 2000’s, surf culture has boomed into a multi­billion dollar global industry.

There’s a lot more surf typography due to the exponential increase of branding, advertising, and editorial. With the rise of Internet and social media, companies started investing serious time and money into the industry.

Top apparel brands, including Quicksilver, Billabong, and Rip Curl, began generating highly visual, photo based campaigns, paired with interesting type treatments, to attract to a newer, younger, visually driven audience.

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BEST COVERS OF 2015 1. Voices in the Night Designed by: Janet Hansen

7. Etta and Otto and Russell and James Designed by: Gray318

2. Almost Famous Women Designed by: Na Kim

8. How to Run a Government Designed by: Barnbrook

3. The Capitalist Unconscious Designed by: Keetra Dean Dixon

9. The Italians Designed by: Nicholas Misani

4. The Dismantling Designed by: Zoe Norvell

10. KL Designed by: Alex Merto

5. Drinking in America Designed by: Rex Bonomelli

11. One Day in the Life of English Language Designed by: Chris Ferrante

6. The Early Stories of Truman Capote Designed by: David Pearson

12. Syriza Designed by: Jaimie Keenan

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WHICH

TYPEFACE ARE YOU?

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1. WHICH BREAKFAST?

A. A Warm Croissant with Tea B. Eggs, Bacon, and Toast C. Eggs Benedict D. Black Coffee 2. IF YOU COULD ONLY BRING ONE ITEM ON A PLANE, WHAT WOULD IT BE?

A. Journal B. your phone C. headphones D. a snack and a neck pillow 3. PICK YOUR FAVORITE SONG:

A. Hello by Adele B. Blank Space by Taylor Swift C. Hotline Bling by Drake D. Me Myself & I by G­Eazy 4. WHERE DO YOU FALL IN YOUR FAMILY’S BIRTH ORDER?

A. Only child B. Middle C. Youngest D. Oldest

8. WHERE IS YOUR DREAM VACATION DESTINATION?

A. Paris B. Australia C. Taiwan D. New York 9. WHAT GENRE OF MUSIC CAN YOU USUALLY BE FOUND LISTENING TO?

A. Jazz B. Country C. Alternative D. Classic Rock 10. WHAT TYPE OF DOG WOULD YOU ADOPT?

A. I’m more of a cat person B. A yellow lab C. A rescue from a shelter D. A Great Dane 11. WHAT IS YOUR FAVORITE FRUIT?

A. Raspberry B. Tangerine C. Avocado D. Apple

5. HOW OFTEN DO YOU SWEAR?

A. never B. sometimes C. I can control myself D. rarely 6. IF YOU COULD INSTANTLY MASTER ONE INSTRUMENT, WHAT WOULD IT BE?

A. Piano B. Guitar C. Drums D. Singer 7. WHAT’S YOUR FAVORITE COLOR?

A. Lavender B. Turquoise C. Indigo D. Red

MOSTLY A’s

You are Didot! You have a sophisticated elegance to you.

MOSTLY B’s

You are Avenir! Your friendly smile radiates positivity which makes you extremely charismatic and fun to be around.

MOSTLY C’s

You are Futura! You are extremely cool with an edgy style.

MOSTLY D’s

You’re Clarendon! You are a natural born leader who emits confidence!

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JON CONTINO The first week of ADC and Monotype‘s Typography Month has been cruising along, giving love to the type addicts and lettering geeks within the ADC community (we know there’s a lot of you!)

Just like last year’s Photography Month and Illustration Month, ADC Typography Month features a daily Typography Spotlight, highlighting ADC Members and Young Guns who love working with words and letters. Some of the names are already famous within the design community, while others will be new for you to discover, but all of them are card carrying ADC Members from around the world.

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The next designer to step into the Typography Spotlight definitely falls into the “already famous within the design community”: the ‘New Yawk’ alphastructaesthetitologist and ADC Young Guns 9 winner.

WHERE DID YOUR INTEREST IN TYPOGRAPHY BEGIN? It’s generally not something kids in kindergarten aspire to be. When did you discover that you could actually make a living out of it? You laugh now, but in kindergarten, that is exactly what I was doing. I had an intense obsession with sports branding and movie posters from before I even started any type of schooling, and would literally sit on the floor and draw monograms and logos all day. Come to think of it, I don’t know if I even knew how to read or write yet, but I loved the shapes and was constantly tracing and trying to copy things that grabbed my attention.My mother and grandmother got me hooked on calligraphy at a really young age as well, so I just enjoyed drawing letters. I can even remember old sketchbooks that had various stylized “alphabets” for pages and pages. Just me drawing letters in all different ways. As for making a living, I’m not quite sure. When I started working professionally at 14 years old, it still didn’t dawn on me that it could be a career. It

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was a part time job doing something I liked for cash. I don’t think it was until college when I realized that all of my projects could gang up and become a yearly salary.

HOW MUCH OF YOUR ABILITY IS SELF TAUGHT VERSUS THROUGH SCHOOLING? Everything I know from a technical aspect is selftaught. My mother and grandmother had a big part in supplying the tools, buying me books, and taking me to exhibits at a young age. Everything after that was just the lack of control over my obsession with design.

How would you best describe your style?

How did you foster that style? Do you tend to lean towards one type of lettering?

I’ve always been kind of sloppy when it comes to drawing anything. I’m not a tight, technical artist by any means. I’ve always embraced the idea of raw concept through art, but the designer in me is dedicated to organizing and compartmentalizing all of that stuff. One of my professors in college called my style “organized chaos” and I always thought that fit me well. When you actually look at my work it might not come across that way, but in my head that’s how I see it. Clean, minimal, Swiss style design has always been a favorite of mine, so I just kind of put my spin on that. I do however

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love a good turn of the century print ad though. I can’t deny that from seeping into my work. “I hate the term ‘letterer.’ It might as well be ‘letterererererer.’ I always thought it sounded lazy and awkward. I refuse to refer to myself with that term.”

WALK US THROUGH YOUR USUAL TYPE DESIGN PROCESS. Everything starts on paper first. I draw rough concepts in a sketchbook, I start fine tuning on paper, and I finalize on paper. Once I’m happy with the work, I bring it into the computer to clean it up and digitize it. Sometimes it’s vector and sometimes it’s not, but typically this is more of the icing on the cake than anything else.

WHAT IS YOUR FAVORITE ‘PRACTICAL’ FONT, ONE FOR EVERYDAY USE? The funny this is that I’ve been lettering everything for so long, that I kind of stopped using fonts for everyday use. When I designed the Standard Memorandum, I had to choose a font that I thought I could use every day and never get sick of, and that font is Columbia Titling by Typetanic Fonts. It’s the perfect amount of slab, history, and style all rolled into one insanely flexible typeface.

DO YOU HAVE A FAVORITE LETTER OF THE ALPHABET WHEN IT COMES TO EXPERIMENTING WITH DESIGN? That’s a great question. My initial thought is probably an uppercase R. There’s just so much you can do with it. It can get out of hand pretty quickly actually.

WHO WINS IN A FIGHT: SERIF OR SANS SERIF? Serif. Always. So much style, so much class.

The obvious difference between an illustrator and a letter or typographer is that the latter works mainly with words and letters. Name a not so obvious difference between the artforms, one that certainly applies to you.

I honestly can’t tell the difference between my illustration and lettering work. I think I’m the guy that walks the line right down the middle. When I draw an object or I draw a letter, I’m approaching it in exactly the same fashion. To me, there is no difference between lettering and illustration because the processes and goals are exactly the same. Tell a story using pictures, and to me, an illustrated word is just as much a picture as anything else. There’s certainly another side to that argument, but from my point of view,

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it’s all one in the same. The second I try to separate it is the second I become someone else. I mean honestly, alphabets started as pictures of things anyway, right?

How is that any different?

WHAT OTHER ARTISTIC PASSIONS DO YOU HAVE? WHERE ELSE DO YOU FIND INSPIRATION? Anything that has to do with design in general. I’ve been designing men’s clothes for years now. I’ve also started getting into interior design with my wife and photography for her brand, Past Lives.

Anything you can put a creative spin on is something I enjoy. At this point in my life, I learned that you don’t have to apply different styles to different mediums just because you’re not proficient. I’ve become really comfortable with the type of artist I am and the style I gravitate towards, so anything creative I put my hands on will generally have the same approach as something I letter or illustrate.

WHICH PROFESSIONALS DO YOU LOOK UP TO THE MOST IN THE TYPOGRAPHY/LETTERING WORLD? Oh man, there are so many. Of course the Herb Lubalins and Doyald Youngs of the world are a no brainer, but I’ll spare everyone the history lesson and name a few contemporary artists instead. Kimou Meyer, Todd Radom, Michael Doret, Ken Barber, Andy Cruz, Aaron Horkey,Benny Gold and Parra.

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WHAT IS THE MOST CHALLENGING THING ABOUT YOUR CAREER? Keeping up with the pace I set for myself.

I seem to be constantly ten steps ahead of myself in terms of what I’m thinking versus producing, so it’s a never ending struggle to try and reach an unreachable goal.

Sometimes I just need to sleep and my desire to become better won’t let me.

The work is easy, the mental exhaustion through self competition is the hard part.

AT THE END OF THE DAY, WHAT DO YOU LOVE MOST ABOUT BEING A TYPOGRAPHER OR LETTERER? This seems like as good a platform as any to say that I hate the term “letterer.” It might as well be “letterererererer.” I always thought it sounded lazy and awkward. I refuse to refer to myself with that term. I think “lettering artist” is acceptable, or my preference, “designer.” Anyway, I just love the fact that lettering is all about creating something custom. Like cabinet making or building a hot rod. You’re taking something that anyone in the world can buy off a conveyor belt and be perfectly happy with, but putting a unique spin on it so it exists for one purpose and one purpose only. The idea of customization is the beautiful part, and to be able to customize a word to enhance the emotion behind it is just an added bonus.

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EVOLUTION OF VOGUE Vogue has had some gorgeous covers throughout the years.

Like every other magazine, they’ve added more text on their covers to lure the readers in. But unlike others, they’ve done a good job of keeping the design classy and uncluttered.Vogue has always primarily focused on fashion, however the way it shares its vision with the world has certainly changed, going from high-fashion photographs to celebrity-centered shoots.

Vogue remains one of the world’s premiere style publications, with its covers having gone through a remarkable evolution over the years.

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A REFLECTION OF...

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...OUR NATION’S CULTURAL HISTORY TYPE & STUFF 33

RISING TYPEFACES Nolan Next’s streamlined features, designed primarily for display use, will appeal to a broader audience looking for a typeface that performs in a wide range of applications—from branding and corporate identity to editorial and web design. Its clear structure, narrower proportions and extended character set make Nolan Next suitable for text setting as well. Add to that a nice sequence of eight weights with carefully drawnobliques, and you have a versatile family that will accommodate all your typographic needs.

[Jeremy Dooley’s] Haboro puts a modern twist on the high­contrast [Didone] style, with slightly wedge­shaped serifs and leaf­ shaped terminals that give the typeface a unique look. OpenType features allow the user to switch between these default terminals and the more traditional ball­ shaped ones, as well as between sharp and blunt points on the capital ‘A’, ‘M’, ‘V’ and ‘W’. The type family comes in an impressive 54 styles: 9 weights in three widths—Normal, Condensed and

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Extended—all with matching italics.

Every member of the type family has an extended character set including small caps, numerous ligatures and alternates, and several figure styles.

The latest release by Nootype is a warm, fun all­caps typeface inspired by the sans serifs from the late 19th century. The family consists of a base font and seven surprising variants that can be layered to create striking multi­colour effects.

These variants run the gamut from stencil via multiple inline versions to a beveled font mimicking extruded letters — think disco album sleeves, shop signs from the sixties, vintage posters, and so on.

Nico Inosanto designed alternate letter forms, located in the lowercase slots, that cause the appearance of the typeface to shift from grotesque to humanist sans.

Devinyl feels perfectly at ease in editorial layouts, posters, packaging... any display application that takes advantage of its inventive style.

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TYPEMAKER’S

MATCH

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HELVETICA NEUE:

Dear Typesetters, I’m looking for an older well established typeface. I’m really into low x heights and always have fantasies about A’s with small bowls. I need to be paired with a social typeface, since I enjoy long conversations, body text qualifications are a must. I come with a variety of weights so I need to feel appreciated at any size. People tend to either really like me or they hate me. I’m not a gold digger but I need to be paired with a typeface with a double story G. DEAR HELVETICA NEUE,

We’ve thought hard about trying to find the perfect match for you. We have an aged typeface that is currently seeking a younger companion. The name is Garamond, and this type sure knows the difference between a font and a typeface.

ROCKWELL BOLD:

Hey, what’s good TypesettAHs? My name is Rockwell Bold... they call me bold for a reason bruh, I take good care of myself and pride myself on my evenly toned slabs. I hit the gym a lot too, and am seeking a typeface with curves to contrast my monoweighted muscles.

I don’t like to talk much but with a body like this, being used only for display is what I’m about. Some people think I’m a little obsessed with myself but when your featured in the Guinness World Records its hard not to check out your own apex serifs.

DEAR ROCKWELL BOLD:

It sounds like you need a companion that is as attractive as you think you are. Well, we have a smoking hot Bembo that’ll be perfect for you. This typeface is an extremely attractive and legible book typeface. It was featured in Everyman’s Library series and has curves that will keep you reading for days on end.

BODONI:

Hello Typesetters, first time writer but long time reader. I’m a very elegant typeface with extreme stroke contrast and a slight hook in my J. I really want to be with a type that doesn’t take life too serious but still is responsible. I don’t like to play games, I want to be with a type that is efficient and forward. I need to be with someone who is versatile, I need a type with the confidence to be display but also the modesty to be body text at times.

DEAR BODONI,

We are so glad that you’ve been following our match making over the years and we have a perfect match for you. You really need to get your tittles over to the Bauhaus and spend some time with Futura. This quirky typeface is geometric and was the first typeface on the moon, we believe this match will be stellar.

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MID CENTURY MODERN AN ODE TO RAY AND CHARLES EAMES Charles and Ray Eames did not design a typeface. tThey did, however, leave a philosophical template for a font collection worthy of their name. Extensive research and close correspondence with the Eames family clarified our mission to honor their aesthetic while maintaining the timeless relevance and functionality that characterizes their legacy.

Before drawing a single letterform we embarked on a journey that took us far beyond the low-hanging fruit of published material and internet searches. Our process of building a foundation for Eames Century Modern started with breakfast meetings at the kitchen table of the Eames House and took us through in­depth tours of their studio and living space, visits to the archives of Herman Miller in Michigan and Vitra in Weil am Rhein,

and quality time in a cramped carrel at the Library of Congress. We took every opportunity to learn even more through our nearly constant interaction with the Eames family and Eames Office employees.

Only then did we pick up our flexible pointed pens and begin to draw, employing a hint of nostalgia and a set of blinders (so as to ignore the typographic fads of the last three decades). The goal was to create practical text fonts in medium “workhorse” weights, then incorporate more playful traits at the heavy and thin extremes. On the light side of the spectrum we created wiry thin strokes that show visible contrast at large sizes.

An extreme black weight with very little counter space and heavy bracketed serifs provides the dramatic anchor for the family. The italic styles took on

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a life of their own with emphasized serifs, graceful curves and dramatic negative shapes. Their rhythm, angle and playfulness offer a thoughtful tribute to Ray’s writing samples and correspondence. The typeface incorporates a wide selection of styles that reinforce the utilitarian, mirthful and beautiful tangents of the Eames oeuvre.

Charles and Ray were always quick to point out that good ideas are worthless

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without the willingness to execute them in a way that they can have a broad appeal and become universally practical. A modern typeface needs to fulfill a wide range of design challenges and user needs. Carefully­weighted small caps, nine different figure styles, ligatures, contextual alternate forms and thousands of lines of computer code form the molds from which a truly practical yet uncommonly beautiful typeface is cast.

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LOUISE FILI

“Louise Fili designs with unmatched grace and elegant craftsmanship, unifying old and new to create contemporary forms in typography.�

Fili, who grew up in an Italian-American household in New Jersey, remembers carving letterforms into the wall above her bed at age three or four: Even then, she simply loved making letters. In high school, she taught herself calligraphy with a Speedball guide and an Osmiroid pen. She enrolled at Skidmore College to study studio art, but discovered graphic design instead. Presciently, her senior project was a hand-lettered Italian cookbook.

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In the 1970s, Fili left Skidmore for New York City and completed her final semester at the School of Visual Arts (now SVA). It was during a freelance assignment with Knopf that she first discovered her love of designing books.

At 25, she was hired as a senior designer

by Herb Lubalin, if only because, as Fili modestly remembers it, ‘someone had been given notice on the day I happened to walk in the door.’ Being in an atmosphere where type was paramount had a transformative effect on the development of her voice and style.

Fili joined Random House as art director for Pantheon in 1978. When her quiet cover design for Marguerite Duras’ The Lover helped make the book a runaway best seller in 1984, she was granted carte blanche. She designed nearly

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2,000 book jackets, proving again and again that design doesn’t have to shout to be noticed. Paula Scher recalls, ‘I wondered who this terrific art director was who was designing all the book jackets with exquisite typography at Pantheon and winning so many awards. I was so impressed, and I competed with her. Then I really met her in 1982... She became my friend and has been so ever since.’

Steven Heller, design historian, writer and Fili’s now husband and collaborator, says, ‘I noticed Louise’s work long before we met.

In fact, it was the work that prompted me to write her, and later meet her. What I saw in the work was a distinctive flair. It had bits of the past, but entirely reinterpreted....

More important, in a sea of book jackets and covers...her designs stood out for their precision, humanity and aesthetic joy.’ The

two have since co authored more than a dozen books, including Italian Art Deco and Shadow Type.

Fili opened her own studio in 1989, focusing on restaurant identity, food related logos and packaging. There weren’t many female run studios then, and she knew it could be problematic if she named the studio after herself.

But she decided to send a clear message: ‘If you have a problem with my being female, then I don’t want you as a client.’

Louise Fili Ltd has since redesigned the Good Housekeeping Seal of Approval, designed an iconic ‘Love’ stamp and created legendary identities for New York City eateries including Pearl Oyster Bar, the Mermaid Inn and Artisanal. She has received medals from the Art Directors Club and the Society of Illustrators, as well

as three James Beard Award nominations.

In 2004, she was inducted into the Art Directors Club Hall of Fame. Today she teaches in graduate and undergraduate programs at SVA and at the school’s masters workshop in Rome.

When asked how she’s been able to master so many new fields, Fili says, ‘No matter how much you may love your profession, you have to be ready for change.’ As students of this graceful master of craft, we can’t wait to see what’s next.”

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GRAFFITI AS ART Any passerby in an urban cityscape has observed the colorful, provocative, illegal “eyesore” that is graffiti. Although many consider the spraypainted pieces a nuisance, graffiti has been gaining recognition from the art world more and more as a legitimate form of art.

When most people think of graffiti, they imagine “tags,” or a stylized writing of a person’s name.

While tags are probably the most popular forms, graffiti art is much more than that. It can mean a colorful mural with a message of diversity or a black and white stencil piece protesting police brutality. In each case, graffiti art makes a statement.

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AESTHETICS George C. Stowers wrote that based on aesthetic criteria, graffiti has to be considered an art form. He makes a distinction between simple tags and more complicated pieces, stating that tags have little aesthetic appeal and probably should not be considered art. However, larger pieces require planning and imagination and contain artistic elements like color and composition. Stowers provides the example of wildstyle, or the calligraphic writing style of interlocking letters typical of graffiti, to show the extent of artistic elements that are present in these works.

“Wildstyle changes with each artist’s interpretation of the alphabet, but it also relies on the use of primary colors, fading, foreground and background, and the like to create these letters,” he writes. The artist’s intention is to produce a work of art, and that must be taken into account when considering street art’s legitimacy.

A NOD FROM THE ART CROWD People are used to seeing graffiti art in public spaces, after all, that’s what makes it graffiti. However, after years of gaining recognition by the art community, graffiti art has been shown in various galleries in New York and London, and artists are often commissioned to do legal murals and other work for art shows.

anonymity, the British artist has gained tremendous popularity. Celebrities such as Angelina Jolie and Brad Pitt have purchased his work for a hefty price.

Recognition by the art world and inclusion in galleries and auctions is one way that graffiti art is legitimized as “real” art. In addition, this exposure has helped the graffiti movement to become launched into the rest of the world.

A STYLE ALL ITS OWN Like all other artistic forms, graffiti has experienced movements or changes in style. From the first tag scribbled on a subway train to the large, complex mural on a billboard, the movement has experienced change. The tools and the means have changed as well. Markers were traded in for spray paint, and stencils and stickers were introduced to make pieces easier to execute in a hurry.

The messages have also evolved. Graffiti has always been somewhat political, but it has come a long way from simply tagging one’s name to parodying world leaders to make a statement. This is further proof that graffiti is a form of art and not just a result of random acts of vandalism. The graffiti community moves in different directions and the resultant artwork moves with it.

One of the most famous graffiti artists, Banksy, has had his work shown in galleries such as Sotheby’s in London. Despite his

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JUST DO IT

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Nike Inc. was founded on May 30, 1971 and ever since then, they have made their mark in the advertising industry.

Throughout the years, Nike’s marketing creatives have consistently made print ads that have fantastic typography and photography. Nike design isn’t subtle: it is strong, bold, and dynamic. Their typeface choices successfully evoke these words without being obvious about it. This advertising collection consists of print ads from the 1970s to the present.

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ARABIC TYPOGRAPHY The Arabic and Latin alphabet are two of the most widely used alphabets around the world. Though they stem from the same origin (the Phoenician alphabet), they differ considerably, visually as well as typographically. All typography originates from handwritten script. The dissimilarity in visual appearance between Latin and Arabic handwritten script has dramatically influenced the course of their typographic development. The most basic unit of the written text in the Latin script is the letter, whereas in Arabic, the basic unit is the word. As a type designer, it is imperative to go beyond the proportions of each individual letter, taking into consideration the shape variations per letter, and the connections of letters to one another.

I. ARABIC TYPE ANATOMY AND TYPOGRAPHIC TERMS

The following typographic demonstrations compare the anatomy of Arabic type to that of Latin type. The diagrams show a

contemporary Naskh / Sans Serif typeface, called “29LT Kaff” that comes in eight (8) weights designed by Pascal Zoghbi and Ian Party (SwissTypefaces). It was published in the Spring of 2015 at which time it became part of 29Letters commercial fonts library. Latin type conventionally sits on a baseline, with five main vertical levels of reference: baseline, x-height, ascender, descender, and caps-height. By contrast, Arabic type is less constrained, with more invisible typographic levels at the type designer’s disposal. A humanistic typeface inspired by the cursive Naskh scripts, such as this one, may make use of up to twelve imaginary typographic levels, whereas a typeface based on a geometric Kufic script may require only four or five levels. This means that it is essential for Arabic type designers to possess expert knowledge of Arabic calligraphic styles and systems in order to be creative and to translate the calligraphic rules into typographic guidelines for their typefaces

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For each of the cursive Arabic calligraphic styles (Naskh, Thuluth, Diwani, etc.), the proportions of the letters are governed by several systems—dot, circle and similarity—which act as guides for Arabic type designers. There is no one set of typographic levels in Arabic type anatomy as there is in Latin type anatomy.

Type designers decide on the number of levels needed for the typeface they

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are designing, and according to the calligraphic style that the typeface is based on.

Instead of one mean-line—in Latin typefaces, the x-height—there may be several: tooth-, loop-, and eye-heights.

Instead of a single ascender, there may be two, called the ‘Sky’. In place of a single descender, there may be two or

three, called the ‘Earth’. In between the previously mentioned guidelines, there are two further invisible lines that define the baseline’s position and thickness.

II. THE VARIATIONS OF SHAPES PER LETTER

The Arabic letters are connected to each other in order to form words. This system of word units is totally rooted in the calligraphic writing tradition. The words are not only separated by clear word spaces, but often end with swashes that may run under the following word.

This characteristic feature helps in clearly identifying individual words within a sentence. This method of writing has led to shape variations per letter, whereby one letter may have up to four shapes depending on its position within a word and its relation and connection to the letters following and/or preceding it.

Unlike the Latin script, the connections between letters are not strictly horizontal nor do all the letters sit on the same baseline; some letter connections are done vertically where letters are stacked on top of each other, creating a series of sloping multileveled baselines. Arabic has a strong linear direction that gives the script its even flowing reading trajectory.

In the cursive calligraphic styles, these geometric proportions are loose guidelines, leaving the final decision on the shape and proportion of each letter to the optical adjustment and taste of the individual calligrapher. These principles of geometric proportions and measurements are not sufficient nor absolutely conditional for designing an Arabic typeface. In Morocco, for example, the traditional way of learning Arabic calligraphy is not based on strict measurements but rather on the copying of good existing texts until the apprentice learns to master his art. The aim is to create letters that are homogeneous in their stroke weight and proportions, letters with smooth connections that harmoniously suggest a clear reading direction.

Like all type design, letters are constructed with a balance between their individuality and similarity in shape. Individual in order to facilitate their recognition, and similar in order to facilitate reading by blending nicely with the other letters within a text.

The Arabic alphabet is also based on that principle where letters are constructed out of a rather limited number of different shapes that combine differently to form the individual letters. These amount to a total of 14 parts in the cursive styles.

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KING OF BEERS The can redesigns had gotten a fairly decent reception in 2011 and, in a way, it aimed for some of the same goals as does the new one, but it still suffered from too much designing. The new can establishes consistency with Bud Light by having the seal and legend tightly cropped on the top of the can and in this can it might even look better than it did for Bud Light (which already looked hot). The logo spans wide beyond the visible edges of the can, which is really rare as I’m sure most can-clients want everything to be visible inside the can. The logo has so much space that you could put a bunch of those Clydesdale horses to pasture around it. The “King of Beers” tag line has changed from the overused Bank Gothic to something custom and glorious. The combination of elements, the spacing, the muted colors, it’s all just absolutely great.

As has been the case with most big brands, Budweiser has stripped back all unnecessary decorations and finishes off of the logo. In this case, the process reveals an elegant and classic script word mark that looks far better than it has in decades.

The letters look so crisp and curvaceous with the “B” now standing out beautifully

instead of being jammed into the bow tie shape, which also looks remarkably good as a single-line stroke. From here, things just get better.

All the typographic details were done by Toronto based Typographer Ian Brignell Brignell even create a typeface for Budweiser known as Bud Bold.

Anheuser-Busch InBev, the owner of Budweiser and Bud Light, said that sales of its two top beers have continued to fall “in the low single digits” in the United States in the second quarter -- despite a ton of marketing for both brands. But it’s not all bad news for the company. Overall sales were up in the quarter despite the struggles in the U.S., problems in Europe and tough comparisons in Brazil following last year’s World Cup tournament.

With 2016 rolling in and bringing with it a new branding overhaul to rival designs of the growing micro brewery movement, Budweiser is drawing on a new, younger crowd while trying to maintain true to its “hard way” crafted beer and established clientele.

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TYPE & STUFF MAGAZINE California Polytechnic State University San Luis Obispo California Department of Art & Design Typography II Professor Charmaine Martinez Designed by: Ashley Vong Contributions by: Type II Winter 2016 Avenir Light Avenir Medium

AVENIR BLACK (ALL CAPS)

LEAGUE GOTHIC REGULAR (ALL CAPS)

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