rational &
experimental design in typography
stephen cass
Submitted as a partial requirement for BA (Hons) Graphic Design University of Cumbria
rational & experimental
design in typography
stephen cass
contents
introduction
4–5
}
why is typography important?
6–7
}
modernist vs post-modernist approaches to type design
8–15
}
rational vs experimental design
16–19
}
modernist vs post-modernist approaches to type design
20–23
}
in practise, how the audience may percieve rational and experimental design
24–25
}
bibliography
26–28
}
rational
& experimental design in typography
introduction The intricacies of typographic design are often taken for granted in today’s world. The readers of magazines and the public audience walking down a busy high street take in all sorts of typographic forms and styles without a second thought. Yet, the audience unconsciously knows what is being hinted by the styling.
W
hether a visual element is shouting to grab attention, or set in a rigid sans–serif to imply strength. Visual styling is important to getting a message across, but what happens when people stray from the conventions of ‘rational’ typography and beginv to use more ‘experimental’ methods. Rational design is what the public sees day in day out. Information set out left–aligned set in straight lines with an easily understood structure. Experimental design on the other hand throws this organised styling to the wind and aims for a more visually exciting response which engages the readers, potentially at the sacrifice of readability and/or legibility. The readers of magazines and the public audience walking down a busy high street take in all sorts of typographic forms and styles without a second thought. Yet, the audience unconsciously knows what is being hinted by the styling. Whether a visual element is shouting to grab attention, or set in a rigid sans–serif to imply strength. Visual styling is important to getting a message across, but what happens when people stray from the conventions of 'rational' typography and begin to use more 'experimental' methods. Rational design is what the public sees day in day out. Information set out left–aligned set in straight lines with an easily understood structure. Experimental design on the other hand throws this organised styling to the wind and aims for a more visually exciting response which engages the readers, potentially at the sacrifice of readability and/or legibility. This paper will therefore explore typographic design during the Modernist and Post-modernist design periods in relation to 'rational' and experimental' typographic design practice. By looking at how it has evolved during and from these times, and how these design approaches affect the view and understanding of audience perception. The main argument is to investigate and discover if there is a need for typographic
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stephen cass
'rationality' and 'experimentation'. How have these different approaches to typographic design impacted on the messages communicated to the viewer of the design piece? With this in mind, when did designers concerned with typography really begin to play with typographic layout? Who did, and how did they go about it? By looking at both the Modernist and Postmodernist periods, the aim is to discover who the guidelines of typography have been approached, tried and tested and in some cases broken. By comparing the work of the Bauhaus Design school, Jan Tschichold and the Dadaist movement as a focal point during the Modernist period their individual styles will scrutinised in terms of rational and experimental design. In terms of type designers during the Post-modernist period, David Carson and Jonathan Barnbrook will be analysed in much the same way. This will then move onto more contemporary examples of typographic design to see if there is a leaning towards either or rational and experimental type design. Utilising recent magazine publications mostly with other examples – posters – used as necessary. These examples will be analysed structurally and visually using a combination of Ferdinand Saussure's method of semiotics and Nina Nørgaard's paper on the semiotics of type treatment in literary texts. This will form an analytical base when deconstructing the individual elements of a type piece. In conclusion, all avenues covered over this paper will be explored in attempt to ascertain how an audience could react to the different styling, and if there is any truth to the questions being asked about the need for rational and experimental design. With these aims in place, this dissertation ultimately aims to discover if designers using typography need to be strict with how the final design is implemented, or if there is room for a more emotional response.
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rational
& experimental design in typography
1. why is typography important?
Language is an intrinsic part of everyday life when the need to articulate ideas and feelings to others is necessary. This desire to communicate helps others to understand our needs and helps to understand theirs. In most – if not all parts of everyday life – we will come into contact with language and interact with it.
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stephen cass
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in which the text is set in; this in itself strikes a tone with the viewer as mentioned mine the meaning of what they are saying, before e.g. a heavy sans–serif could imply alongside understanding the words they are strength or weight. The scale of the text – be speaking. But when it comes to written word, it large or small – will attract different levels how do we interact with the written format of attention. If the text is capitalised, bold and understand its voice and tone? or set in italic, this will change the meaning In design, typography's main use is to of the message being communicated to the communicate meaning though the arrange- viewer. ment of letterforms, words, and paragraphs. These subtle or obvious typographic stylThis arrangement allows an audience to ing’s give voice to the words plastered on understand the message or messages being the poster, magazine, or bottle that is being put forward, and take something away from viewed. How that message is interpreted is the piece of type design. However, for every all down to the viewer. Designers have to piece of type design, not one piece is the painstakingly and meticulously choose typesame as another. Each communicates in its faces that reflect the theme or attitude that own personal way. First we have the typeface is trying to be communicated. Something hen language is used verbally, we pick
up on the tones in a person’s voice to deter-
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rational
& experimental design in typography
legible, that makes the letterforms easy to distinguish. And arranged in such a way that readability is not compromised. At another point the spectrum of typographic design, printed literature have similar – yet more subtle – devices to emphasis sections of text, from spoken word to the thoughts of a character. Nina Nørgaard's journal The semiotics of Typography in literary texts highlights ways in which this is done. We can see that these devices are reflected in public pieces of typographic design – again such as posters for example – when designers are trying to be gentle with their communication. Or brash and loud, depending on the case. However, does each individual letterform need to be easily recognisable for it to understandable? For example if you fill the counter – the centre – of an 'O' does it cease to be a letter, or does it just become a circle echoing the shape of the letter it arguably once was? Do words need to be rendered in easy to read forms such as Times New Roman to be understood, or can they still be read if only the key letters of the word in question are used? These are the questions that designers need to address while creating any piece of typographic design. Designers would argue that information should be laid out in a straight forward, easy to read manner, which leads the viewer by the hand through the information so that 10
they understand it clearly and quickly. On the other hand, some would argue that this approach is lacking in excitement of expression and should engage the audience visually and make them work to understand the message. Both are valid points. But where do we draw the line between what is known as 'Rational' design, and 'Experimental' design, with respect to typography? Rational design is described by Massimo Vignelli as being “Rooted in history and semiotics and problem solving”. For example imagine the contents of any book you own. The chapters listed in an orderly, easy to read, linear fashion similar to fig1. Vignelli then goes onto say that experimental design is “More rooted in the liberal arts–painting, figurative arts, advertising, trends and fashion.” (Heller and Pettit. (1998) Design Dialogues pp 4i) Imagine again the same contents page, but this time the chapter titles are larger than the rest. They are scattered across the page instead of placed one after the other (Fig2). Rational design is more involved in structure and organisation, whereas experimental design is more involved with emotion and the want to change. This begs the questions, which one is the more visually stimulating? Which involves more work to read and follow? And where do we draw the line between these two approaches to design?
stephen cass
2.
modernist vs post-modernist approaches to type design Therefore in order to understand the rational and experimental approach to type design in more depth, we will take a look at typographic design in the Modernist and Post-modernist design periods.
D
uring the Modernist period (Mid–19th
through perform-
– 1950's) design was a very elitist profes-
ance, they also
sion. Meaning only those who were schooled
took to twisting the
in design, could design. At this time it was
traditional guides of
implied that art was separate from society.
type design to suit
There was an increasing interest in the use of
their own needs and
material and artistic technique and a desire
ideals.
to remove the ornamentation and surplus
The Dadaists were
elements to design to create a more clean
a group of artists,
and minimalistic design form that 'lacked the
performers and like–minded individuals that
baggage of everyday life'. Later, during the
gathered in neutral Zurich. In June 1917,
Post-modernist period art became a more
their first journal Dada was published stat-
everyday practice that was open to the many
ing that their group was a 'New reality and
rather than the few with the introduction of
accused the expressionists of sentimental
software packages and the computer. Design- resistance to the times'. They embraced the ers and artists around this time also began to
opportunities of 'chance and the nonsensi-
reintroduce art as being part of society rather cal' (little, 2004, pp 111ii). For instance, Jean than being something for the select few.
Arp's Collage arranged according to the laws
During the modernist period, rational
of chance was an artistic piece consisting of
design was the forte of the Bauhaus design
pieces of paper dropped onto a canvas and
school, and Jan Tschichold. Both had their
stuck the pieces where they had fallen (fig
own contemporary graphic style of creating
3). The journal was edited and published by
'pure design' with some design cross–overs
Tristan Tzara, with the intent of spreading
such as Tschichold's want, like the Bauhaus,
the ideals of the Dada movement to like
to abolish upper–case letters. In terms of
minded individuals. This first publication was
experimental design, the Dadaists – a group
'conventional in format and typography...
of performers and artists – opposed the
subtitled Miscellant of Art and Literature'
conventions of society during the period and
(Eskilson (2007) pp 135 iii), the second issue
as though they challenged these conventions
also followed this style, but come the third
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rational
& experimental design in typography
issue the notion of rational composition was
group of readers who would wholeheartedly
cast out and replaced with a chaotic spread
prefer the text to be set out in the traditional
of type set upside down, scattered across the
style, like the two sets of text on the second
page, slanted and seemingly freerunning as
page of fig 4 – both set horizontally as we'd
well as various other ways of arrangement.
expect in conventional western typographic
This deviation from the general rational
12
terms – so the reader can get enjoyment
norm of type setting – placing it in easy
out of the reading, rather than fitting the
to read rows – challenged the reader to
puzzle together.The Bauhaus movement on
engage with the journal, with what they
the other hand preferred rational design, the
were reading. The experimental setting of
organisation of information in linear fashion.
the typography was a hint to the contents
For Bauhaus type design, their ethos was to
of the essays and poems printed within the
design using sans–serif typefaces. They were
journal. If we look at fig 4, which is a sample
found to be “indispensable for three reasons”.
of the third Dada journal, it is obvious that
The first being “It was the only type capable
the typography is not set out as we would
of expressing the spirit of the machine
expect. Lines are broken up; different lines
age” due to their geometrics planned form.
of the same essay or poem are in differ-
Secondly. Being after the time of the first
ent typefaces and point sizes as mentioned
world war, sans–serifs lacked “Nationalist
before. These breaks in consistency could and
associations (unlike blackletter) so it could
would be argued it is uneasy on the eyes of
serve as a unifying force in the post–war Era”
the reader. Yet providing you can read the
and finally “Its simple clarity and impersonal
language, and fit the words together into a
character were best to match for photogra-
logical sentence structure, then there is little
phy” allowing for less distraction between
reason why this style of layout would cause
text overlaid on images. Oversized numerals
some distress. With that said, there will be a
and horizontal/vertical lines which helped to
stephen cass
either emphasis or organise information, or
created Die Neue Typographie (The New Ty-
add some decoration. It's safe to say that the
pography) in an attempt to further his design
Bauhaus revelled in the rational sector of de-
principles. The book contains Tschichold's
sign. (Eskilson (2007) pp 242iv) Looking at fig
theories on how any given publication should
5, we can see the above–mentioned style of
appear – in his opinion – when concerning
sans–serif typefaces, prominent numerals and typographic layout and application. This linear elements that organise the information allowed the audience reading the book to in the design.
understand the meaning behind the message
Jan Tschichold first made his impact in the
in a simple and straightforward manner.
world of rational typographic design in the
Interestingly enough, later during Tschich-
year 1925 when he edited a journal titled
old's career he deviated from his principles
typographische Mitteilugen (Typographic
of The New Typography by taking a less
News). The cover (fig 6) uses sans–serif
doctrinaire approach to type design. He did
typefaces for clarity of reading, and set in
however, hold fast to the ideals of clarity and
a slightly playful but linear fashion. He set
precision in type design. (Jury. 2006, pp 39).
out to create a standard set of rules and
Tschichold later went onto develop the Pen-
principles which
guin Composition rules for Penguin Books.
printers could easily
The rules were similar to The New Typography
understand what
in the sense that he stipulated again how
was going on in the
titles and body copy should be laid out. He
world of art and
stated, “Good typography has to be perfectly
design. This was
legible and is, as such, the result of intelligent
Tschichold's first at-
planning” (Doubleday. 2005vi pp 69) and this
tempt to rationalise
is reflected in annotations scrawled onto the
type design. Later
initial prints of title pages for the series (fig
in 1928, Tschichold
7). Even though Tschichold leaned away from
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rational
& experimental design in typography
exaggerated, brightly coloured and images juxtaposed with one another with no distinguished yet humorous results (fig 8). (http:// www.credoreference.com/entry/thgraph/ push_pin_studio? Accessed 02/02/12). The style vaugly recalls the feel and look of early Dadaist work (see fig 4) which shows the ten- illegible. The page spreads contained “patchdency to draw inspiration from the past. works of illustration, photography, splotches David Carson, editor of Ray Gun maga-
14
of broken type and scintillation rushes of
zine – A highly experimental publication
white” (Poyner, 1998. pp 222viii) Focusing on
dealing with topics on Rock–and–roll in the
the typography, typefaces clashed together
America's – was very much in–tune with the
of all sizes, shape and setting – such as bold,
process of experimental design in this period.
strikethrough – sections of copy overlaying
The magazine was non–linear, sometimes
another breaking into and upsetting the flow
stephen cass
his views printed in The New Typography,
of narratives (fig 9). It is safe to say to many
his passion for rational design that a reader
rational orientated designers, it may set their
could enjoy for its subtleties in setting and
teeth on edge. There was no grid, and no
easy of reading remained strong. Post–Mod-
distinguishable system. Carson at a talk on
ernism on the other hand, is thought to
his work in the past stated “The point of this
have started around the 1960’s and lasted to
magazine was to read the articles, listen to
around the late 80’s, trickling into the 90’s
the music, and try to interpret it.” therefore
also. Artists from this period usually created
it was up to the reader to come to their own
and used art to go against the grain, to rebel
conclusions about what the article was about
against tradition and challenge mainstream
providing they could read it. Carson confesses
culture. In terms of typographic art in the
to taking one article which he found boring
post–modern time, the style as one would
and set the entire text in Dingbat, a series of
imagine was very different.Instead of using
symbols that rendered the article useless in
simple organised structures, where individual
terms of being a readable piece – unless de-
elements are of consistent styling, designers
coded – but served as an interesting piece of
chose to 'mix point sizes and type weights,
visual art. Although there are some spreads
over printed elements, use deliberate mis-
which take to this chaotic state, there are
takes' and many other anti–convention visual some which are more reigned in, are easier stylings (Eskilson, 2007, pp 336vii). It is inter-
to read (fig 10). This could well be for the
esting to note however, that not all graphic
benefit of the reader, as a constant stream
designers – and those in–between – opted
of randomly placed elements – which can be
for this method of typographic design and
followed with some effort –would eventually
still implemented the grid and rationally set
tire the reader and gives them a slight rest,
out typography, but employed other means
allowing them to read something a little
of giving it a visual edge. These new ways of
more deceptively linear.
displaying graphics and typography brought
Jonathon Barnbrook's work on the other
about a new life to visual design which
hand in comparison to Carson, is very differ-
– in some cases – echo's the ideals of the
ent. But in some respects, much the same.
Dadaists. And with the constant development Barnbrook studied graphic design at the Saint of technology it was easier to experiment
Martin’s School of Art and the Royal College
with the size and shape of elements, their
of Art in London (http://www.edu.barnbrook.
colours and how they appeared when printed net/information.html accessed 03/02/2012) e.g. Overlaying one colour on top of another
He took a keen interest in typographic design,
to create a third colour.
demanding to learn the rules to better com-
Push Pin Studio during this time chal-
municate with, which is his primary vehicle
lenged the ideals of rational design by draw-
of communication. Barnbrook also fits into
ing from historical reference – another key
the category of post–modern design, fitting
element of post-modernist design in some
snugly with the concept of experimental
cases – such as wood cuts and Victorian let-
design. While Carsons Ray Gun lacked the
terforms. Their design elements were usually
grid and system required for 'successful'
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rational
& experimental design in typography
design, obviously rejecting the ideals of
seen in fig 12 – and are showcased in varied
rational design, Barnbrook employs structure
ways, from 'Bastard' displaying enlarged
in his work but still keeps in tone with the
letterforms covering linear set text (fig 13),
ideals of post–modernism. His work lashes
to 'Manson' set linearly but not without some
out at mainstream culture, – such as politi-
styling as the letterforms of the words have
cally themed news and events – through
been moved around to once again engage
digitally created collages, with overlaid
the reader (fig 14). We can see how he plays
typography, usually of his own design (fig
with the typographic elements at his disposal
11) or simply typographic with supporting
to create something emotive and teaming
elements (fig 12). Many of Barnbrook's fonts
with life. Barnbrook states "A good typeface
are inspired by shape and architecture. What
creates an emotional response in relation to
is interesting to note about Barnbrook's work
the message it is conveying. You're trying
is his capacity to switch between the two
to get that tone of voice right – you can
approaches to typographic design. If we take
shout or whisper. And you want to sum up
the Barnbrook Bible as a point of reference
the spirit of the age, because they do date
– as it contains a concise history of his work
quite quickly." (http://www.bbc.co.uk/news/
– we see countless examples of his work.
magazine–10689931 accessed 03/02/2012)
Immediately we see the title is constructed
summing up a great deal of post-modernist
with 3 distinct typefaces. Both set horizon-
typography, which lives in the moment and
tally, but one set upside down. Though not
utilises the need for a more human design
a huge challenge to read, Barnbrook invites
response.
the reader to turn their head. The contents
16
Looking back, there are examples of typo-
page does not take the usual linear style
graphic rules and guidelines dating back to
some would favour but it is still somewhat
the Modernist period, having been brought
easy to navigate. Throughout the book there
through to today's typographic practice.
are sections dedicated to his typefaces – as
While some have decided to spur them,
stephen cass
yet understand that they are an integral
relish its courage at trying something new.
knowledge in order to breaking the rules
The Bauhaus on the other hand could be
and conventions logically and with reason.
seen as stale, lacking the dynamic of experi-
With the introduction of software packages
mentation, but their use of controlled type
and the ease of access to design orientated
elements give us enough cues to A) navigate
technology, there are an increasing amount
the piece and B) keep the reader interested.
of people who break the rules mainly because If the oversized numerals in the Bauhaus they don't have the formal training. However, piece of design shown in fig 5 were reduced people with the desire to learn – such as
to the size of the sub headers or body copy,
Carson who had no formal teaching in
then there would be a loss of visual impact.
the practice of typography – can create
Conversely, when looking at Carson's Ray
something new, different and challenging.
Gun it is arguable that with a lack of a visible
This lack of training brings into question the
system of layout then it makes enjoying the
extent of how rational or experimental a
content that much more difficult. Yet it is
piece of amateur type design will look. The
highly important to remember, that if design-
final outcome could either work as a happy
ers were to submit to a generalised styling
accident, or simply fail. Carson's work may
then much typographic design would fall flat,
come across to some as failure to respect the
there is a need for visual variance.
subtleties of typography, yet many would
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rational
& experimental design in typography
3. rational vs experimental design As shown in the last chapter, there have been a few attempts to create a generalised set of rules or guidelines when it comes to undertaking a typographic design approach. And we have also seen that people have tried and tested ways to break these conventions in order to bring some life into what could turn into or be a rigid and stifling design solution. So which is more successful? That all comes down to a matter of perspective.
I
n order to create a working typographic design, it is argued that you should learn the basics before trying to run. There are countless books dedicated to this. Every aspect of type design from setting body copy, to making sure the space between individual letters is perfect at large point sizes. Paul Felton, a renowned figure in the field of type design tried his own hand at setting out guidelines for typesetting in his book The Ten Commandments of Typography. Parodied on the commandments, he goes about detailing what he believes to be a few proper ways of displaying type for viewing and the organisation of information. For example, on one page commandment 3 “Thou shalt employ no other type size that 8pt to 10pt for body copy.” (Felton, 2006 pp 22–23ix) is displayed in a serif typeface, giving the piece a somewhat elegant and formal feel. On the opposite page, examples of the commandment are set out. This theme carries on throughout his section of the book. Flipping the book over to the reverse brings Type Heresy into the reader’s hands. It challenges Feltons rules with wit and a lavish display of what can only be seen as experimental design. Opposing commandment 3, underneath the repeated commandment – this time set in a more spikey, stylised typeface hinting at the 'dark side' of typography – reads “Do not forsake smaller or bigger sizes, for they can make a plain text document look wickedly sensuous” (Felton, 2006, pp 26–27x) It then carries on the next page, with a more engaging narrative as the examples text asks the reader “For Heaven's sake! Why?” Both sides hold valid points. And as mentioned before, you need to know the rules in order to break them. There are also more academic books like AVA Typography by Ambrose
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stephen cass
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rational
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& experimental design in typography
stephen cass
a more experimental design approach is required, to capture the tone of the event, cases with pictorial examples to past design item, or service that is being advertised. For firm work. With books like these, a budding – example, the typography of gig posters typior designers of many years – can refresh their cally reflects the genre of music of theme of knowledge of what can be regarded as proper the the band(s) performing. Looking at fig 15 typography, and are also able to see what is an event poster for Vampire Weekend by Jay possible when you breathe some humanity Vollmar. Though the poster is largely image into the piece. Yet, in order to create a combased, the typography used is interesting. municative piece of design you need to at The typeface used is basically a set of shapes least have that underpinning. which loosely resemble their letter counterSo in relation to both rational and experi- parts. Though it may take the audience of mental design is there an overlap? Should the poster a touch longer than usual to read there be? If printed publications – or their the text, there are cues which allow them to digital equivalent for that matter – were distinguish what they are and build the word to be created using the same typeface for quite quickly. headlines, another singular typeface used for A poster advertising Audioslave (fig 16) on the body copy, and both typefaces are set the other hand created by Drowning creek at standardised sizes then everything would Studio uses a graffiti style typeface which is look rather dull even if colour was injected much more difficult to read than the typeinto the piece. face of Vampire weekend. They typeface is There are cases however when rational similar to graffiti styling, and the letterforms design should be and is the common place. flow into one another affecting readability. Warning signs for example use clear cut This highly stylised typeface may prove shapes and colour, and linear, easily read difficult to some and make deciphering the sans–serif typefaces to increase their readmessage a great deal more frustrating due ability. If the text was broken up with varied to the compact nature of the letterforms point sizes and changes in typeface, if one which don’t immediately conform to the set of instructions was set horizontally and letterforms we are used to. another set vertically at opposite ends of Both posters are set in linear fashion, the placard, it would ultimately end up yet the choice of typeface brings about the frustrating the reader further if there were experimental nature of the pieces. Both an emergency. Yet we can assume that test the ability of the reader to make out some information must be highlighted to the individual letterforms from the abstract the viewer, and this can simply be done shapes, making them actively engage with with italics – obliques in terms of sans–serif the posters. typefaces – or bolder, more prominent in size sections of text could help the overall aesthetic while aiding the reader in distinguishing the necessary from the 'take heed'. There are of course examples where and Harris, which simply goes about detailing similar rules and expanding on them in some
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rational
& experimental design in typography
4. in practice, how the audience may percieve rational and experimental design Over the past chapters, there has been much mention of specific artists and their work in therealms of rational and experimental typographic design. Yet little on how it’s intended audience may or may not react to the design piece. Over many years semiotics has been used to pick apart the world of advertising by looking at separate elements in any given image. For example the colour red in a perfume or makeup advertisement could symbolise passion or beauty.
F
applied to the deconstruction and analysis
tually be stipulating a shouting tone. Readers can assume that any capital letters or italicised sentences are merely set in order to grasp their attention and to strengthen the hierarchy present in the publication. With these two areas of research and theory, a sample of magazine spreads will be analysed to see how they have tackled the idea of rational and experimental design. By looking at how titles, body copy, pull quotes and other typical elements expected to be seen in magazines are laid out and set readers can interpret the hierarchy. Fig 17a is a spread from Computer Arts
of images. Using the example as before, the
Collection: Graphic Design. The typographic
colour red would be the signifier, and the
setting is linear in style, easy to read with the
concepts that it sparks would be the signified.
use of sans–serif typefaces of varied weight,
Similarly, a paper written by Nina Nørgaard deals with language in it's printed form, and how the visual aspect of language also carries meaning in the way it has been set. This meaning, capital letters could be deemed as shouting, italics hissed or internal prose. However it must be noted that the context in which the language has been visually set, depends on the context that they are given in. Capital letters may not ac-
and contrast between page and text colour.
erdinand Saussure was a key figure in
the early days of semiotics, mainly dealing with language, and linguistic signs. Signs, in terms of Saussure's model consisted of a 'signifier', for example the word tree, and a 'signified', the mental image or physical tree. Sassure's model works primarily with the mental concept of the signified, as it is suggested that the signifier and signified are 'intimately linked in the mind by an associative link' (Chandler, 2002, pp 17). Though the model was primarily developed to unravel the intricacies of signs in language, it can also be
22
There is a clear hierarchy with the variation of weights and type sizes. And vertical and horizontal rules have been employed in similar style to the Bauhaus's design ethos to help organise different sections of text. This style is set over the next spread also (fig 17b), using a consistent styling of regular type size and weight, and adds a pull quote set in a slimmer, more condensed sans–serif as not to
stephen cass
be mistaken with the article introduction. This similar properties of the Interviewee name,
and their responses are set in a smaller sans– serif highlighting a change in person as the of text. Over page again the reader is treat to article goes on. something different (Fig 17c). A group of spreads found in Icon 104 The spreads contains two separate styles. follow a similar convention in terms of hierThe left page contains a short reporting archy of text (fig 18a). From the first spread, article, the right side continues on with the featuring a large image we see the title of main article, though both carry a feeling of the piece 'Urban farmers' set in a large green belonging to each other in terms of their serif face, possibly to promote the idea of overall styling. The left page's main copy being organic, and underneath is the articles uses a heavier set typeface than the opposite introduction set in the same typeface at a page. This change indicates to the reader reduced size. Serif typefaces are typically that the main article from the previous page used for their ease of readability and give is different, allowing them to quickly flit an air of class. Over page (fig 18b), the body from the breaking article to the opposite and copy is again set in the same typeface as carry on reading if they so choose. We see the title and the stand–first, set in black. The with the left–hand spread, the article has 5 copy is set linearly similarly to the article distinct variations of type. Title, interviewee in the Computer Arts magazine spread, and studio, stand–first, interviewer questions arranged in columns but lacks the variation and responses. 'The flexible studio' is set in of type size seen in the previous magazine a bold capitals sans–serif, which grabs the article with the lack of oversized pull quotes. attention of the reader by appearing more Elements such as those in this spread are prominent, highlighting the reader has been smaller and muted in the same green as the presented with a new article, alongside the title and set in a medium weight sans–serif change of page colour. The sub headers of and at the same point size of the body copy the interviewer are set white in a typeface of and highlighted by a pair of oversized quotabrings some visual variation to the spread
and breaks up the visually monotonous block
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tion mark outlines. This styling continues for the majority of the magazines larger articles. While both magazines are from the realm of design, and the people creating the publications will have knowledge in the area of typesetting, each tackles the styling of typographic elements in its own distinct way. Neither are overly engaged with the reader in terms of invoking emotion, but do lead the reader through the articles with a clear
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cut hierarchy, using styled type – bold for example – to draw attention to specific parts of an article, or noting a change in dialogue. Subtle changes such as these are gentler on the readers allowing them to move from element to element easily without having to fight through visual chaos.
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5.
conclusion
A
t the end of the day, designers need to make a conscious decision of which practice of type design they are going to use. Will they use an organised format with reigned linear set text, of uniform size – not withholding variation for titles and the likes – and a few select typefaces, or an ensemble of different typefaces each interacting in either a nonsensical way or as part of a subverted structure. Looking over the examples of work displayed, there is an obvious variation of the styles used. Some are more at the lively end of each respective practice and others more muted and tame. It's hard to determine where to place the line between rational and experimental design. As mentioned few times before, designers couldn't submit to a strict set of rules that dictate the who, what and where of typesetting. There are a plethora of typefaces in existence, each carrying its own characteristic which can be used in thousands of different ways, ways which might even render the letterforms as abstract shapes compared to what they are. But also, not every piece of typographic design could be laid out in similar highly experimental fashion like Carson's work in Ray Gun, it would drive people mad trying to figure out what they were reading and how to read it. There is seemingly a time and place for each practice. In the contemporary works displayed, it is evident that rational design plays a large part in the main design. It is noticeable there are some more playful elements in some pieces that bring about that feeling of a controlled experimental input, and liven up the spreads. It can be debated that these changes in style for specific elements help, yet consideration needs to be given to the overall tone the piece is trying to display. Some designers in the field of typography would warrant that it is very important that anyone wishing to dabble in typography should take in some knowledge around the subject, simply as background reference or to be aware of what the general guidelines are as something to work from. Others would suggest that theory is nice
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stephen cass
to have, but there isn't a need for an over abundance of it as implied by Johanna Drucher (Heller and Pettit. (1998) pp 142xi). With greater access and the development of digital mediums, the realm of possibility is expanding in terms of how text can be set, and who can set it. During the modernist period type was set by hand with print–presses by specially trained people, whereas nowadays those print–press typefaces have been digitised and can be set at any size with ease through a program such as Adobe InDesign by the every day person. Variations of typesetting can be churned out quickly and easily with a few key strokes and option changes. This rapid processing where designers are constantly testing out new things can bring about something visually stimulating belonging to either rational or experimental practice. In conclusion, it would appear that there is an apparent need for rational typographic and experimental typographic design, as each can take something from the other to create something new and visually exciting to an audience, but remain clear and concise communicating the message that needs to be put across. Many examples of contemporary work display this blending of rational and experimental design, while taking notice of the general rules of typography with use of subtle styling to aid the reader’s journey through the text. There will always be a split between the two practices, some will prefer the rational approach of organisation, and others will prefer the experimental practice of type design. So long as there is a need to communicate, then type design will continue to evolve and change as the times see fit. It is hard to believe that designers will fully belong to one practice over the other, there may be some overlapping in terms of application, and using something shocking to grab the attention of the reader may work. But there is also a beauty in a sleek, minimal design that asks the reader to come a little closer.
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Books: • Ambrose, Gavin, and Paul Harris. (2008) Grids: N. a Structure or Pattern of Lines Used to Guide the Placement of the Elements of a Design. Lausanne: AVA Academia. Print. • Ambrose, Gavin, and Paul Harris. (2006) Layout. Lausanne: AVA Pub. Print. • Ambrose, Gavin, and Paul Harris. (2005) Typography. Lausanne, Switzerland: AVA Academia. Print. • Barnbrook, Jonathan, Kalle Lasn, David Bowie, Emily King, Teal Triccs, and Alice Twemlow. (2007) Barnbrook Bible: the Graphic Design of Jonathan Barnbrook. [London]: Room for Living. Print. • Bignell, Jonathan. (2002) Media Semiotics: an Introduction. Manchester: Manchester UP. Print. • Butler, Christopher. (2002) A very short introduction: Postmodernism. New York: Oxford University Press Inc. Print. • Chandler, Daniel. (2002) Semiotics: the Basics. London: Routledge. Print. • Chermayeff, Ivan, and Thomas H. Geismar. (2006) Watching Words Move. San Francisco: Chronicle. Print. • Cobley, Paul, Paul Cobley, and Litza Jansz. (2010) Introducing Semiotics. London: Icon. Print. • Cottington, David. (2005) A very short introduction: Modern Art. New York: Oxford University Press Inc. Print. • Dabner, David. (2004) Graphic Design School: the Principles and Practices of Graphic Design. London: Thames & Hudson. Print. • Dabner, David. (2004) Graphic Design School: the Principles and Practices of Graphic Design. London: Thames & Hudson. Print. • Eskilson, Stephen. (2007) Graphic Design: a New History. London: Laurence King Pub. Print. • Felton, Paul. (2006) The Ten Commandments of Typography/Type Heresy. London: Merrell. Print. Fletcher, Alan. (2001) The Art of Looking Sideways. London: Phaidon. Print. • Garfield, Simon. (2010) Just My Type: a Book about Fonts. London: Profile. Print. • Gerber, Anna. (2004) All Messed Up: Unpredictable Graphics. London: Laurence King Pub. Print. • Hayes, Clay (2009) Gig posters: Rock show art or the 21st century. Philadelphia : Quirk Book. Print. • Heller, Steven, and Elinor Pettit. (1998) Design Dialogues. New York: Allworth. Print. • Hollis, Richard. (2001) Graphic Design: a Concise History. London: Thames & Hudson. Print.
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• Jaspert, W. Pincus., W. Turner Berry, and A. F. Johnson. (2008) Encyclopaedia of Typefaces. London: Cassell Illustrated. Print. • Jencks, Charles. (2007) Critical Modernism: Where Is Post–modernism Going? Chichester: John Wiley. Print. • Jury, David. (2006) What Is Typography? Crans– Pres–Celigny: RotoVision. Print. • Kress, Gunther, and Theo Van Leeuwen. (2006) Reading Images: the Grammar of Visual Design. Abingdon: Routledge. Print. • Kuipers, Dean, and Chris Ashworth. (1997) Ray Gun: out of Control. London: Booth–Clibborn Editions. Print. • Little, Stephen. (2004) –isms: Understanding Art. London: A. & C. Black. Print. • Lupton, Ellen. (2004) Thinking with Type: a Critical Guide for Designers, Writers, Editors, & Students. New York: Princeton Architectural. Print. • Macmillan, Neil. (2006) A–Z of Type Designers. London: Laurence King. Print. • Monachino, Teresa. (2006) Words Fail Me. London: Phaidon. Print. • Neuenschwander, Brody, Leonard Currie, and David Quay. (1993) Letterwork: Creative Letterforms in Graphic Design. London: Phaidon. • Poyner, Rick (1998) Design without Boundaries: Visual communication in transition. London: Booth– Clibborn Editions. Print. • Poynor, Rick. (2003) No More Rules: Graphic Design and Postmodernism. London: Laurence King. • Spencer, Herbert, and Rick Poynor. (2004) Pioneers of Modern Typography. Aldershot: Lund Humphries. Print. • Tomasula, Steve, and Stephen Farrell. (2004) VAS: an Opera in Flatland : a Novel. Chicago: University of Chicago. Print. • Tschichold, Jan, and Robin Kinross. (1995) The New Typography: a Handbook for Modern Designers. Trans. Ruari McLean. Berkeley: University of California. Print. • Van, Leeuwen Theo, and Carey Jewitt. (2001) Handbook of Visual Analysis. London: SAGE. Print.
stephen cass
Websites:
Magazines:
• http://www.barnbrook.net/ 03 Feb. 2012
• Dennis, Tom. (2012) Computer Arts Collection:
• http://www.bbc.co.uk/news/magazine–10689931 03 Feb. 2012 • http://www.beyondstandards.com/archives/bs20/ 20 Nov. 2011.
Graphic Design Vol.1 Bath: Future Publishing Limited pp 68–73 • Braliant, Clair (2012) Icon (104 Februrary) Loughton: Media 10 Limited pp 64–67
• http://www.credoreference.com/entry/thgraph/ push_pin_studio? 02 Feb. 2012 • http://www.edu.barnbrook.net/information.html 03 Feb. 2012 • http://www.eyemagazine.com/feature. php?id=98&fid=485 04 Feb. 2012 • http://www.issuu.com/BERLINE/docs/jan/1 20 Nov. 2011. • http://www.jan–tschichold.com/ 09 Nov. 2011. • http://www.linotype.com/794–12591/starstudent.html 09 Nov. 2011. • http://www.penguinsciencefiction.org/02.html 20 Nov. 2011. • http://www.ronin–group.org/misc_etext_tschichold. html 20 Nov. 2011. • http://www.ted.com/talks/david_carson_on_design. html 10 Nov. 2011. • http://www.tschichold.de/ 09 Nov. 2011. • http://www.typo–buch.de/people/jan–tschichold/ 09 Nov. 2011. • http://www.typophile.com/node/33545 20 Nov. 2011.
Journals: • Doubleday, R. (2005) ‘Bird in Hand’ 59.3: pp.68–75. Print. • Fairhall, Blaise. (2001) ‘Archeology of Type.’ 411.6841 pp.997. Print. • Jubert, Roxane. (2006): ‘The Bauhaus Context: Typography and Graphic Design in France.’ Design Issues 22.4 pp.66–80. Print. • Nørgaard, Nina. (2009) ‘The Semiotics of Typography in Literary Texts. A Multimodal Approach.’ Orbis Litterarum 64.2: pp.141–60. Print. • Shaw, P. (2007) ‘Jan Tschichold, Designer: The Penguin Years.’ 61.3: pp.168–69. Print. • Woodhouse, Mark. (2009) ‘Jan Tschichold: Master Typographer; His Life, Work & Legacy.’ 134.3: 101–03. Print.
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Images: • Fig 1 – Contents page. Felton, Paul. (2006) The
Jonathan, Kalle Lasn, David Bowie, Emily King,
London: Merrell pp 7
Teal Triccs, and Alice Twemlow. (2007) Barnbrook
• Fig 2 – Contents page. Felton, Paul. (2006) The Ten Commandments of Typography/Type Heresy. London: Merrell pp 7 • Fig 3 – Jean Arp’s Collage arranged according
Bible: the Graphic Design of Jonathan Barnbrook. [London]: Room for Living pp 39 • Fig 14 – Manson type specimen sheet. Barnbrook, Jonathan, Kalle Lasn, David Bowie, Emily King,
to the laws of chance. Eskilson, Stephen. (2007)
Teal Triccs, and Alice Twemlow. (2007) Barnbrook
Graphic Design: a New History. London: Laurence
Bible: the Graphic Design of Jonathan Barnbrook.
King Pub pp 134 • Fig 4 – Dada 3 journal. Eskilson, Stephen. (2007) Graphic Design: a New History. London: Laurence King Pub pp 135
[London]: Room for Living pp 78 • Fig 15 – Vampire Weekend poster. Hayes, Clay (2009) Gig posters: Rock show art or the 21st century. Philadelphia : Quirk Book pp 107
• Fig 5 – Selection of Bauhaus publication spreads.
• Fig 16 – Audioslave poster. Hayes, Clay (2009) Gig
• Hollis, Richard. (2001) Graphic Design: a Concise
posters: Rock show art or the 21st century. Philadel-
History. London: Thames & Hudson pp 19
phia : Quirk Book pp 69
• Fig 6 – Jan Tschichold’s Typography News cover.
• Fig 17a, b, c – Computer Arts collection spread.
Eskilson, Stephen. (2007) Graphic Design: a New
Dennis, Tom (2012) Computer Arts Collection:
History. London: Laurence King Pub pp 246
Graphic Design Vol.1 Bath: Future Publishing
• Fig 7 – Annotations by Tschichold on typesetting Penguin Books Doubleday, R. (2005) ‘Bird in Hand’ 59.3 pp 73 • Fig 8 – Push Pin Studio work pieces. Eskilson, Stephen. (2007) Graphic Design: a New History. London: Laurence King Pub pp 343 • Fig 9 – Raygun issue cover and inside spread. Kuipers, Dean, and Chris Ashworth. (1997) Ray Gun: out of Control. London: Booth–Clibborn Editions pp 19–20 • Fig 10 – Raygun issue cover and inside spread. Kuipers, Dean, and Chris Ashworth. (1997) Ray Gun: out of Control. London: Booth–Clibborn Editions pp 25–26 • Fig 11 – Barnbrook Gulf War poster. Barnbrook, Jonathan, Kalle Lasn, David Bowie, Emily King, Teal Triccs, and Alice Twemlow. (2007) Barnbrook Bible: the Graphic Design of Jonathan Barnbrook. [London]: Room for Living pp 49 • Fig 12 – False Idol type specimen sheet. Barnbrook, Jonathan, Kalle Lasn, David Bowie, Emily King, Teal Triccs, and Alice Twemlow. (2007) Barnbrook Bible: the Graphic Design of Jonathan Barnbrook. [London]: Room for Living pp 172–173
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• Fig 13 – Bastard type specimen sheet Barnbrook,
Ten Commandments of Typography/Type Heresy.
Limited pp 68–69, pp 70–71, pp 72–73 • Fig 18a, b – Icon magazine spread. Braliant, Clair (2012) Icon (104 Februrary) Loughton: Media 10 pp 64–65, pp 66–67