Type & Grids exercise

Bradbury Thompson A Case study The following presentation highlights the process of formultng and designing an article on a given type designer - in this case Bradbury Thompson.

01.11

Step 1 - Collecting/scanning/downloading and compiling key images of your given Typographers work Format - A2 mood boards

Step 1 - Collecting/scanning/downloading and compiling key images of your given Typographers work Format - A2 mood boards

BRaDBuRy THOmPSOn

Step 2 - Formulating/working out and tracing an accurate grid.

Step 2 - Formulating/working out and tracing an accurate grid. Detail

Step 2 - Formulating/working out and tracing an accurate grid.

Step 2 - Formulating/working out and tracing an accurate grid. Detail

Step 3 - Selecting a typeface/family - in this case Futura & Baskerville

Step 4 - Looking at type sizes & weights. Galley text over set widths.

Step 5 - Start designing your spreads via small thumbnails/sketches

Step 6 - Start designing at actual size. Producing an accurate detailed layouts

Step 6 - Detail

Step 6 - Start designing at actual size. Producing an accurate detailed layouts

Step 7 - Start to translate your design to the computer. Run out black & white test copies. Refining your layout all the time.

Step 7 - Start to translate your design to the computer. Run out black & white test copies. Place trace grid over layout

Step 8 - When you reach a point when you are happy with your design run to colour

Recap

Thumbnail Sketch A2 layout onto grid

A2 Black & white proof

A2 Colour proof

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Bradbury Thompson - Portrait of a typographer

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“type can be a toy, a tool and a teacher”.

See them go

Good earth 11

Away with A

“An express track to the eyes and minds of as many people as you desire to reach”.

“How an illustrated idea can change a trend of thought or indeed a way of life”.

“The dynamic of the spread can only be matched by an overall sense of calm”.

The plan for simplifying and improving our alphabet, entitled Alphabet 26, was first presented to Westvaco Inspiration 180 in 1950. It recommended the use of only one symbol, upper and lower case, for each of the 26 letters.

Our conventional alphabet contains 19 letters having dissimilar symbols (such as A and ‘a’) and 7 letters (c-o-s-vw-x-z) having symbols that are identical.

The plan for simplifying and improving our alphabet, entitled Alphabet 26, was first presented to Westvaco Inspiration 180 in 1950. It recommended the use of only one symbol, upper and lower case, for each of the 26 letters.

Our conventional alphabet contains 19 letters having dissimilar symbols (such as A and ‘a’) and 7 letters (c-o-s-vw-x-z) having symbols.

The plan pointed out how misleading it is for a letter, or for any graphic symbol, to have two different designs. It illustrated the confusion that might set in when school children are taught to recognize words even before they have learned to recognize different symbols for the same letter.

To remedy this, Alphabet 26, a plan based upon the logic of consistency, made this recommendation for the 19 letters that have dissimilar symbols: 15 letters should use the upper case design (black letters opposite) and 4 letters should use the lower case designs (red letters). The other 7 letters already have identical symbols (blue letters).

The plan pointed out how misleading it is for a letter, or for any graphic symbol, to have two different designs. It illustrated the confusion that might set in when school children are taught to recognize words even before they have learned to recognize different symbols for the same letter.

To remedy this, Alphabet 26, a plan based upon the logic of consistency, made this recommendation for the 19 letters that have dissimilar symbols: 15 letters should use the upper case design (black letters opposite) and 4 letters should use the lower case designs (red letters). The other 7 letters already have identical symbols (blue letters).

Only 6 lowercase letters (a-e-m-n-r-u) could be used in typesetting because all others have ascenders or descenders that would pertrude above and below the type body if enlarged for uppercase usage. The uppercase R design was preferred because enlargement of the lowercase ‘r’ would make an awkward fit next to lowercase letters. The uppercase U and lowercase ’u’ are almost identical, the former design having been selected for its simplicity.

The original showing of Alphabet 26 in 1950 by necessity employed a combination of capitals, small capitals, and lowercase letters. Because the lowercase letters a-e-m-n were not yet redesigned to fit so harmoniously in the same words with capitals, small capitals, and lowercase letters, a degree of aesthetic harmony was lacking in the original version. However for Inspirations 213 in 1960 and Inspirations 217 in 1962 the large a-e-m-n letters.

The plan pointed out how misleading it is for a letter, or for any graphic symbol, to have two different designs. It illustrated the confusion that might set in when school children are taught to recognize words even before they have learned to recognize different symbols for the same letter.

To remedy this, Alphabet 26, a plan based upon the logic of consistency, made this recommendation for the 19 letters that have dissimilar symbols: 15 letters should use the upper case design (black letters opposite) and 4 letters should use the lower case designs (red letters).

The plan for simplifying and improving our alphabet, entitled Alphabet 26, was first presented to Westvaco Inspiration 180 in 1950. It recommended the use of only one symbol, upper and lower case, for each of the 26 letters.

Our conventional alphabet contains 19 letters having dissimilar symbols (such as A and ‘a’) and 7 letters (c-o-s-vw-x-z) having symbols that are identical.

Alphabet 26 Typeface from our own contemporary point of view, seemed to be the right choice, especially when accompanied by mid-eighteenth century engravings of DIderot Encyclopedian, which date from the same period.

Base ball typography It seemed appropriate, too, to honour John Baskerville himself, whose type design was concsidered innovative in his time. A purely practical reason for the choice was the fact that Baskerville type possessed a lowercase main body and a small-cap body that aligned with each other, a strong point not found in Bodoni and some other faces.

The original showing of Alphabet 26 in 1950 by necessity employed a combination of capitals, small capitals, and lowercase letters. Because the lowercase letters a-e-m-n were not yet redesigned to fit so harmoniously in the same words with capitals, small capitals, and lowercase letters, a degree of aesthetic harmony was lacking in the original version. However for Inspirations 213 in 1960 and Inspirations 217 in 1962 the large a-e-m-n letters. The plan for simplifying and improving our alphabet, entitled Alphabet 26, was first presented to Westvaco Inspiration 180 in 1950. It recommended the use of only one symbol, upper and lower case, for each of the 26 letters. Our conventional alphabet contains 19 letters having dissimilar symbols (such as A and ‘a’) and 7 letters (c-o-s-v-w-xz) having symbols.

The plan pointed out how misleading it is for a letter, or for any graphic symbol, to have two different designs. It illustrated the confusion that might set in when school children are taught to recognize words even before they have learned to recognize different symbols for the same letter.

To remedy this, Alphabet 26, a plan based upon the logic of consistency, made this recommendation for the 19 letters that have dissimilar symbols: 15 letters should use the upper case design (black letters opposite) and 4 letters should use the lower case designs (red letters). The other 7 letters already have identical symbols (blue letters).

The plan pointed out how misleading it is for a letter, or for any graphic symbol, to have two different designs. It illustrated the confusion that might set in when school children are taught to recognize words even before they have learned to recognize different symbols for the same letter.

The uppercase R design was preferred because enlargement of the lowercase ‘r’ would make an awkward fit next to lowercase letters To remedy this, Alphabet 26, a plan based upon the logic of consistency, made this recommendation for the 19 letters that have dissimilar symbols: 15 letters should use the upper case design (black letters opposite) and 4 letters should use the lower case designs (red letters). The other 7 letters already have identical symbols (blue letters).

Westvaco Inspiraions 134

Once you have all your elements to hand - Copy/headlines & Images etc... then the amount and variety of layout possibilities are endless..........almost.

The structure of the human form with some coloured circles placed around it in an interesting and charming way.

Only 6 lowercase letters (a-e-m-n-r-u) could be used in typesetting because all others have ascenders or descenders that would pertrude above and below the type body if enlarged for uppercase usage. The uppercase R design was preferred because enlargement of the lowercase ‘r’ would make an awkward fit next to lowercase letters. The uppercase U and lowercase ’u’ are almost identical, the former design having been selected for its simplicity.

Because the lowercase letters a-e-m-n were not yet redesigned to fit so harmoniously in the same words with capitals, small capitals, and lowercase letters, a degree of aesthetic harmony was lacking in the original version.

However for Inspirations 213 in 1960 and Inspirations 217 in 1962.

Westvaco Inspiraions 121 Thislayout was inspired by the dancers of the New York ballet theatre who prance around the room quite a bit.

Because the lowercase letters a-e-m-n were not yet redesigned to fit so harmoniously in the same words with capitals, small capitals, and lowercase letters, a degree of aesthetic harmony was lacking in the original version.

However for Inspirations 213 in 1960 and Inspirations 217 in 1962.

Bradbury Thompson - Portrait of a typographer

WeSTVaCO InSPIRaTIOnS

Bradbury Thompson - Portrait of a typographer

24 See them go “An express track to the eyes and minds of as many people as you desire to reach”.

Good earth 11“ “How an illustrated idea can change a trend of thought”.

Bradbury Thompson’s first commission when he came to new york in late 1938 was the design of Westvaco Inspeirations for Printers, a periodical published by the Westvaco Corporation between 1925 and 1962 as a show case for its printing papers. The title, Inspiration for Printers, had a slightly old-fashiond flavour by 1939( it was changed to Westvaco Inspirations in 1957), but there was nothing old-fashioned about ist form and content; under Thompson’s direction it became one of the leading avant-garde publications in its field, its influence reaching San Francisco to Milan. Its bold young designer from Troppeka was one of the most determined modernists of his generation

WeSTVaCO Baskerville, a transitional typeface from our own contemporary point of view, seemed to be the right choice, especially when accompanied by mid-eighteenth century engravings of DIderot Encyclopedian, which date from the same period.

It seemed appropriate, too, to honour John Baskerville himself, whose type design was concsidered innovative in his time.

The plan pointed out how misleading it is for a letter, or for any graphic symbol, to have two different designs.

It illustrated the confusion that might set in when school children are taught to recognize words even before they have learned to recognize different symbols for the same letter. To remedy this, Alphabet 26, a plan based upon the logic of consistency, made this recommendation for the 19 letters that have dissimilar symbols: 15 letters should use the upper case design (black letters opposite) and 4 letters should use the lower case designs (red letters). The other 7 letters already have identical symbols (blue letters).

Only 6 lowercase letters (a-e-m-n-r-u) could be used in typesetting because all others have ascenders or descenders that would pertrude above and below the type body if enlarged for uppercase usage. The uppercase R design was preferred because enlargement of the lowercase ‘r’ would make an awkward fit next to lowercase letters. The uppercase U and lowercase ’u’ are almost identical, the former design having been selected for its simplicity.

Many typefaces have been used in Westvaco Insperations over the years. As a rule, however, the typeface and typographic style have been consistent within each issue otf the publication. Despite this constant, the page designs include varied typographic explorations, providing evidence that “type can be a toy, a tool and a teacher”.

Towards the end of the war I experimented with the interaction of process inks to create the effect of motion on the printed page. The graphic images in this chapter were gathered from a wide variety of sources: advertising art, photography, engravings, and fine art. The effect of the technical experimentation summarized in this chapter was made more apparent by contrast between centuriesold engravings and state-of-the-art printing processes.

Baskerville, a transitional typeface from our own contemporary point of view, seemed to be the right choice, especially when accompanied by mid-eighteenth century engravings of DIderot Encyclopedian, which date from the same period.

It seemed appropriate, too, to honour John Baskerville himself, whose type design was concsidered innovative in his time.

The plan for simplifying and improving our alphabet, entitled Alphabet 26, was first presented to Westvaco Inspiration 180 in 1950. It recommended the use of only one symbol, upper and lower case, for each of the 26 letters. Our conventional alphabet contains 19 letters having dissimilar symbols (such as A and ‘a’) and 7 letters (c-o-s-v-w-x-z) having symbols that are identical.

The plan pointed out how misleading it is for a letter, or for any graphic symbol, to have two different designs.

It illustrated the confusion that might set in when school children are taught to recognize words even before they have learned to recognize different symbols for the same letter. To remedy this, Alphabet 26, a plan based upon the logic of consistency, made this recommendation for the 19 letters that have dissimilar symbols: 15 letters

25

should use the upper case design (black letters opposite) and 4 letters should use the lower case designs (red letters). The other 7 letters already have identical symbols (blue letters). It is said that humour is the sudden marriage of ideas and images which before their union were not perceived to have any relation. It seemed to me that the letters of the alphabet, in combination or individually, had equivalents in the physical world. Since principal vehicle was type, the use of letters in humorous ways became a personal toy. Several of the toys were demanding and embracing of critics. The printed page literally became a playground

InSPIRaTIOnS Only 6 lowercase letters (a-e-m-n-r-u) could be used in typesetting because all others have ascenders or descenders that would pertrude above and below the type body if enlarged for uppercase usage. The uppercase R design was preferred because enlargement of the lowercase ‘r’ would make an awkward fit next to lowercase letters. The uppercase U and lowercase ’u’ are almost identical, the former design having been selected for its simplicity.

“type can be a toy, a tool and a teacher”.

It is said that humour is the sudden marriage of ideas and images which before their union were not perceived to have any relation. It seemed to me that the letters of the alphabet, in combination or individually, had equivalents in the physical world. Since principal vehicle was type, the use of letters in humorous ways became a personal toy. Several of the toys were demanding and embracing of critics. The printed page literally became a playground

Bradbury Thompson - Portrait of a typographer

Step 9 - Designing front cover & contents page - Thumbnail sketches

Step 9 - Designing front cover & contents page - Applied to the grid

Step 9 - Designing front cover & contents page - Computer & adapting

1 A universal journal for the student of typography

front fore

aLPHaBeT 26 Portrait of a typographer Bradbury Thompson & Westvaco Insperations

Step 10 - Designing front cover & contents page - Variations & mock - ups

Step 10 - Designing front cover & contents page - Variations & mock - ups

Step 10 - Designing front cover & contents page - Variations & mock - ups

front fore

1

1

front fore

1

A universal journal for the student of typography

1 A universal journal for the student of typography

front fore

aLPHaBeT 26 A universal journal for the student of typography

front fore

BRaDBuRy THOmPSOn

A universal journal for the student of typography

Portrait of a typographer Bradbury Thompson & Westvaco Insperations

BRaDBuRy THOmPSOn

aLPHaBeT 26

Portrait of a typographer Bradbury Thompson & Westvaco Insperations

BRaDBuRy THOmPSOn BRaDBuRy THOmPSOn A Portrait of a typographer

BRaDBuRy THOmPSOn

BRaDBuRy THO

PSO

aLPHaBeT 26

m n aLPH aBeT 26