CONTENTS
12
HUMANIST ROMAIN DU ROI • CASLON
18
TRANSITIONAL BASKERVILLE
24
MODERN BODONI • DIDOT
30
SANS SERIF AKZIDENZ-GROTESK
38
GEOMETRICAL NEW ALPHABET • BD BRICK • MIND BLOCK • STRUKTUR • STROKE FONT • IDEOZY • DENTYPO
INTRODUCTION Inspiration is the key to creativity.
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Without an idea, you can’t design anything inventive, new, or out of the ordinary. You’ve probably heard it a thousands times, but inspiration is really all around as long as you have an open mind. You will find inspiration everywhere, from watching television ads to taking a walk outside.
A typeface idea can come from any number of places. You might find yourself idly doodling shapes on a napkin in a restaurant, or you might have an illustration or design
brief that requires you to More
likely, you will find yourself being by the visual world around you. as part of a branding It may even just be that you passed by a exercise.great old-fashioned sign on your holidays and took a snap of it. Keep examples of type that you create yourself or that you see and find interesting. They may not be right to inspire you for this project, but might prove in valuable in future ones.
come up with a logotype inspired
Of course, being inspired by other typefaces is a perfectly natural and indeed important part of the type design process. However, what you really want to do to these classical typefaces are not simply copying or modifying existing copyrighted typefaces in a font editor and releasing them as your own, but earnestly learning the thinking forms of those designers, how they keep the aesthetic and geometrical balance in and between the letters.
With ideas buzzing around in your head, it is easy to fall into the trap of rushing into a project, but before starting work on a typeface, you do need to pause for thought. Some early planning and thought can save For example, if you are merely a lot of time down the road. Your first quesexperimenting in typeface design for tion is simply, “Why am I designing this your own amusement, such as creating typeface?” A straightforward question, but a font based on your own handwriting, one whose answer should end up directing or a quirky display font you’re going your approach to the entire project. to give away for free, then you can
pretty much jump straight in and have If
not, you might need to start thinking
fun with it.about designing a grid for the typeface that
you are working on.
Grids are the core foundation of any design. Think of them as an invisible skeleton upon which visual content is arranged. They structure information so that the viewer can easily assimilate and retain it. They make compositions more aesthetiGrids came into public cally pleasing. Even the earliest cultures awareness during the have employed grids in their town layouts, International Typographic architecture, and art. Style of the 1950’s but
have in fact been used The
most basic grid systems are usually of intersecting horizontal and vertihuman history.cal lines that tend to have a “grounding ” effect and are perhaps linked to man’s earliest relationship with time and space:
since the beginning of made
The movement of the sun in relation to the horizon. More advanced grid systems can be made with complex geometry, contain multiple layers, and be three-dimensional or even organic. They help distribute content in a way that is logical and beautiful. There are no limits to design. Anything is possible. So is grid! Apply the inspiration on your grid, you will find it amazing.
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HUMANIST The Humanist types appeared during the 1460s and 1470s, and were modelled not on the dark gothic scripts like textura, but on the lighter, more open forms of the Italian humanist writers. The Humanist types were at the same time the first roman types.
Q B R G H T S
Philippe Grandjean (1666-1714) was a French type engraver notable for his series of Roman and italic types known as Romain du Roi
(French: King’s Roman). King Louis XIV, in
1692, directed that a typeface be designed at any necessary expense for the exclusive use
of the Royal printer.
ROMAIN DU ROI
The Romain du Roi marked a significant departure from the former Old Style types and was much less influenced by handwritten letterforms. This is the Age of the Enlightenment, marked by resistance to tradition, whether that be art, literature, philosophy, religion, whatever; so it’s no surprise that this same era should give birth to radically different types. The Romain du Roi is often referred to as Grandjean’s type, but the designs were produced by a committee set up by the Under the presidency of French Academy of Science. One of the the Abbé Bignon. The table committee members, Jacques Jaugeon of the proportions of the— at that time better known as a maker letters was drawn up by of educational board games — in consulTruchet. Page 25 of Stanley tation with other members, produced Morison’s Letter Forms.the designs constructed on a 48×48 grid. The designs, also known as the Paris Scientific Type, were engraved on copper by Louis Simmoneau, and then handed to the punchcutter Grandjean, who began cutting the type in 1698. Interestingly, Jaugeon also designed a complimentary sloping roman as an alternative to a true An italic does not need to be italic. However, Grandjean himself was to ‘sloped’ or inclined to be an produce the italic from his own designs. italic; in fact an italic type can
The principal graphic novelty in the Romain du Roi is the serif and its horiearly italics were). zontal and unbracketed structure symbolizes a complete break with the humanist calligraphic tradition. Also, the main strokes are thicker and the sub-strokes thinner.
be upright (and some of the
CASLON William Caslon (1692–1766) was an English gunsmith and designer of typographic fonts. In 1716 he started a business in London as an engraver of gun locks and barrels, and as a bookbinder’s tool cutter. Being thus brought into contact with printers, he was induced to fit up a type foundry, largely through the encouragement of William Bowyer. The distinction and legibility of his type secured him the patronage of the leading printers of the day in England and on the continent. His typefaces were influenced by Dutch types then common in England. His work influenced John Baskerville and are thus the progenitors of Transitional types, which in turn led to Modern types. Caslon typefaces were very popular and used for many important printed works, including the first printed version of the Declaration of Independence. They fell out of favour in the century after his death, but were revived in the 1840s, and Caslon inspired typefaces are still widely used today.
&
The swirls of Caslon italic and glyphs were Baroque style.
A B C D E F G H I J K L M N O P O R S T U V W X Y Z abcdefghijklm nopqrstuvwxyz abcdefghijklm nopqrstuvwxyz cropped apex of A high, horizontal crossbar of e C has double serif italic V,W,A may appear to be falling over bowl curve of italic p overlaps stem long serifs on middle arm of E long arm on L bottom arm longer on Z narrow c has low stress large loop on k T has long serifs tapering out from thin arms, lower at center
TRANSITIONAL These typefaces have sharper serifs and a more vertical axis than humanist letters. When the fonts of John Baskerville were introduced in the mideighteenth century, their sharp forms and high contrast were considered shocking.
BASKERVILLLE THE MOST CREDIBLE TYPEFACE An interesting survey of unsuspecting New York Times readers implicitly answered the question: Does a certain font make you “Hear, All Ye People; Hearken, O Earth” agree or disagree more often than another By Errol Morris font? It turns out Baskerville confers a 1.5% advantage towards agreement on a survey question, compared to an average of six fonts. They were asked to agree or disagree to a passage from physicist David Deutsch’s book “The Beginning of Infinity”, and were found to have an optimistic, if Baskervillefavoring, outlook on life. The results of this test showed a clear difference between the performance of Baskerville and other fonts — not just Baskerville and Comic Sans; or Baskerville and Trebuchet or Helvetica; but even Baskerville and Georgia. Compared to versions in the other typefaces, the passage set in Baskerville had both the highest rate of agreement and the lowest rate of disagreement. This led Errol Morris to the inevitable conclusion: Baskerville is the typeface of truth.
A 36 째
72 째
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A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
abcdefghij klmnopqrst uvwxyz
Baskerville Old Style tail on lowercase g does not close swash-like tail of Q small counter of italic e compared to italic a J well below baseline high crossbar and pointed apex of A top and bottom serifs on C W and w have no middle stroke long lower arm of E Many version feature a calligraphic J T has wide arms
As a “transitional” typeface, Baskerville is designed by John Baskerville (17061775) in England in the mid-18th century, revived in the early 20th century and widely used for books and other long texts. The various versions of “Baskerville” take as their starting point types used by John Baskerville in England in the mid-18th century. John Baskerville had been a “writing master”, but at a time when the model to which writing aspired was not the humanist model, but one based much more closely on the work of engravers. When, having Large editions of made a fortune in the japanning busigreat classics are ness, John Baskerville turned his Virgil, the Bible attention to printing, he seems to have aspired to this aesthetic. He main works were monumental and classical in every sense: physically large editions of great classics. The type was crisp, the paper smooth and pale. They are often classified as “tran-
sitional” type, because they bridge the gap between “old-style” type, with its oblique stress and relatively low contrast, and “modern” type, with its vertical stress, high contrast, and sharp finish. Baskerville’s roman is fairly round and open, with a vertical stress but relatively low contrast. Baskerville’s type was highly successful only for a short time—though the glow lasted longer in France. By the early 19th century the modern face had superseded it, and when the reaction against the modern occurred in the late 19th century, it was to earlier “old face” types that people returned. Interest in Baskerville seems to have revived in the early 20th century, with Bruce Rogers among others taking an interest in him. It came to be suspected that the transitional label, which suggested that Baskerville was simply a stretch of road between two distinctive peaks of design, did not do justice to its originality.
While it found little success during the lifetime of John Baskerville, the typeface made a huge influence in Europe after the printer’s widow sold the Baskerville punches and matrixes to France, where it circulated among foundries. Isaac Moore from Bristol’s Fry Foundry created its own Baskerville in 1766, along with Bell and Scotch Roman, which all reflected the sharpness of the Baskerville roman. Baskerville had quite different designs for use at different sizes. Monotype’s was based on a font designed for use at a fairly large size in an edition of Terence’s comedies published in 1772. ATF and Linotype used strikes from genuine punches of a smaller size type; it is not therefore surprising that different versions of Baskerville look noticeably different: they are still be “authentic”. Admiration for the English typeface in France and Italy spread, and Baskerville’s high contrast letterforms evolved into an emergence of modern faces such as Didot and Bodoni. Zuzana Licko designed a contemporary Baskerville revival in 1996, Mrs. Eaves. To recreate the same open and light feeling that Baskerville had, Licko used a small Mrs. Eaves was named after x-height in relation to the cap-height the printer’s mistress and high contrast within the strokes. Baskerville was popular for its calligraphy influence and swashes, and Licko incorporated lots of ligatures into Mrs. Eaves to mimic this style. In an interview in 2002, Licko expressed that the revival of classical typefaces such as Baskerville required scrutiny that later influenced her ideas for letterforms in fonts.
The typefaces designed by Giambattista Bodoni in the late eighteenth and early nineteenth centuries are radically abstract. Note the thin, straight serifs; vertical axis; and sharp contrast from thick to thin strokes.
MODERN
BODONI
The first Modern typeface is attributed to Frenchman Firmin Didot (son of François-Ambroise Didot), and first graced the printed page in 1784. His types were soon followed by the archetypal Didone from Bodoni. The Italian type designer, punchcutter and printer Giambattista Bodoni (1740-1813) drew his influence from the Romains du Roi (with its flat and unbracketed serifs) and the types of John Baskerville (with its high contrast) for whom he showed great admiration. Bodoni will forever be associated with the hordes of digital interpretations from just about every type foundry on earth—the FontBook devotes some 14 pages to flavors of Bodoni; some are faithful digital renderings, others well-crafted interpretations; while others still are nothing but parodies, suitable only for poster headlines or the typographic scrap-heap. However, Bodoni was a prolific type designer, completing hundreds of typefaces; the Museo Bodoniano in Parma, houses more than 25,000 of his punches!
Bodoni’s Manuale Tipografico (1818) contains 142 roman typefaces and their corresponding italics—and that’s just volume one. The second volume includes numerous ornaments, Arabic, Greek, Russian, and Tibetan types, to name but a few. In fact, if you grab a Baskerville, take away the brakets that join serifs to stems, thicken up the vertical strokes, you’ll be left with something that resembles a Didone. If you’ve read the preceding three installments, then you will have noticed a move away from the Humanist or handwritten letterforms. The romans of the Modern types owe very little, if anything to the earlier calligraphic forms; they are too precise, too sharp, too clean. Whereas the Old Style types are Neoclassical, the Didones are Romantic. Though both forms share a common vertical (rationalist) axis, the Moderns have even greater contrast.
thickest thinest [1]
[2]
thickest
[4]
[3]
Baskerville Bodoni
thinest
[1]
High and abrupt contrast between thick and thin strokes;
[2]
Abrupt (unbracketed) hairline (thin) serifs
[3]
Vertical axis
[4]
Horizontal stress
DIDOT
Bodoni is one of the most beautiful typefaces ever made. Although it was created in the 1798, his glamour and charming aspect makes it an easy solution when communicating elegance is essential. Created in 1798 by Italian typographer Giambattista Bodoni, Bodoni is characterized by the extreme contrast between thick and thin lines, a feature that gives its letters a wellknown high-class connotation. Bodoni’s serifs are graceful but not bracketed. As a consequence, we have a feeling of essential elegance that creates an ideal bridge between the Victorian Era and the design period in which we are living today. It is not surprising then to see this type consistently used in the fashion industry.
SANS SERIF The Grotesque category covers the early sans serifs, specifically those designed in the 19th century and the first decade or two of the 20th. Many of these typefaces had only capitals or exist only in centuriesold specimen books, but a number of them are still quite commonly used. These typefaces tend to be very idiosyncratic, with awkward weight distribution around bowls of characters and irregular curves.
AKZIDENZ GROTESK
The roots of the Akzidenz-Grotesk typeface date back as early as 1880. The designs are rumored to have been a derivative of the Walbaum or Didot serif fonts. When the serifs are removed from these designs, the proportions are very similar to those of Akzidenz-Grotesk. The Akzidenz-Grotesk family is actually a collection of numerous grotesque typefaces from different designers, unified to create a complete family. Bodoni has a strong vertical axis, fine hairlines, high contrast between thick and thin lines. Akzidenz Grotesk a sans-serif typeface. It shares a similar characteristic with Bodoni, which is the transition between thick and thin strokes.
Berthold Walbaum
Didot
Akzidenz grotesk
R R
: Akzidenz Grotesk
R
: Didot
R
: Berthold Walbaum
Akzidenz grotesk Didot Berthold Walbaum
double-story a
Once unified as a single family, Akzidenz-Grotesk remained unchanged until Berthold’s Günter Gerhard Lange enhanced the family by adding an additional 33 styles. The revisions and extensions preserved the original 19th century details while adding additional versatility to the family. Berthold added to the family once again in 2006, releasing Akzidenz-Grotesk Pro in the OpenType® format. With the release came Central European, Baltic, Turkish, Danish and Esperanto character sets. Cyrillic and Greek characters were added in 2007.
I is just a straight line.
AKZIDENZ
Berthold first published AkzidenzGrotesk in 1898. Originally named “Accidenz-Grotesk” the design originates from Royal Grotesk light by royal type-cutter Ferdinand Theinhardt. The Theinhardt foundry later merged with Berthold and also supplied the regular, medium and bold weights. In the 1950s Günter Gerhard Lange, then art director at Berthold, began a project to enlarge the typeface family, addin`g a larger character set, but retaining all of the idiosyncrasies of the 1898 face. Under the direction of Günter Gerhard Lange, Berthold added AG Mediu m Italic (1963), AG ExtraBold (1966) , AG Italic (1967), AG ExtraBold Condensed & Italic (1968), AG Super (1968).
weird right-angle bar and spur at base of G (like Helvetica)
lacks Helvetica’s tail on the R
center
center of gravity
This early sans serif preceded the first weight of Helvetica by over 40 years. Throughout the years, H. Berthold has expanded this extremely popular and versatile family. AG Super, Extra, Super, Italic and Extra Bold was developed in 1968 by GĂźnter Gerhard Lange and is an excellent choice for headlines requiring heavilyweighted strokes.
tail of Q does not cross the circle
Q GROTESK
1“Grotesque/Grotesk” Referred to early sans-serif designs
2“Neo-grotesque” or “Transitional” or “Realist” Relatively straight in appearance, and have less line width variation than Humanist sans-serif typefaces
3“Humanist” Most calligraphic of the sans-serif typefaces, with some variation in line width and more legibility
4“Geometric” Based on geometric shapes
For the purposes of type classification, sans-serif designs can be divided into four major groups:
AKZIDENZ GROTESK
Akzidenz- Grotesk was released by H.Berthold AG type foundry in 1896, which is one of the largest and most successful type foundries in the world for most of the modern typographic era. Its transition from foundry type to cold type was successful, bringing about the dissolution of traditional typeset in the digital type era.
The 20th century saw type developments such as serif fonts evolving into sans serif fonts. The world was becoming consumerist and industrialised with the industrial revolution, advertising and a range of commodities leading to increased demand for new type. Akzidenz Grotesk was appropriate for this demand.
The initial design of Akzidenz Grotesk is being used in scientific publicaGrotesk has a clean and tions by the Royal Prussian Academy modern look. It is a solid of Sciences in the 1800s. Because of but rather expensive the typeface being very legible and choice for setting body easy on the readers’ eyes, the publitext and head titles. cation actually helped made Akzidenz Grotesk famous during those early days. Akzidenz Grotesk is later widely used in books for its clean and modern look as compared to serif fonts.
Akzidenz was used as a text font in Europe, especially Switzerland. It was the forerunner of Helvetica, and it was one of the first sans-serif typeface to be widely used which will go on to influence many later neo-grostesque typefaces. Before the term “sans-serif” became standard in English typography, a number of other terms had been used. “Gothic” refers to early sans-serif designs, the term was used mainly by American type founders, which probably took inspiration from the architectural definition.
Despite its age, Akzidenz-
GEOMETRICAL Simple geometric shapes influence the construction of these typefaces. Strokes have the appearance of being strict monolines and character shapes are made up of geometric forms. Geometric sans tend to be less readable than grotesques.
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NEW ALPHABET 1
is a personal, experimental project of Crouwel.
1967 The typeface embraces the limitations
2
of the cathode ray tube technology used by early data display screens and phototypesetting equipment and thus only contains horizontal and vertical strokes. Conventional typefaces can suffer under these limitations, because the level of detail is not high enough. Crouwel wanted to adapt his design to work for the new technologies, instead of adapting the technologies to meet the design. Since his letter shapes only contain horizontals and verticals, some of the letters are unconventional, while others are difficult to recognize at all.
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Because of this, the typeface was received with mixed feelings by his peers. Most of the letters are based on a grid of 5 by 9 units, with 45-degree corners. There is no differentiation between uppercase and lowercase. Many of his peers were of the opinion that the design was too experimental and that it went too far. So much so, that it got a lot of newspaper coverage, which sparked a lively debate.For Crouwel it was mostly a theoretical exercise, ‘The New Alphabet was over-the-top and never meant to be really used. It was unreadable.’
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NEW ALPHABET
Besides printwork Crouwel has designed several font sets, of which the New Alphabet is best known. This typefaces was developped after seeing the first digital typesetters at a print exhibition in Germany. The digital production of the Garamond, as presented on this exhibition looked horrible to him. The roundings of several sizes of a typeface were not alike, because of the small amount of pixels used, as you could see when the letters were enlarged. The Quadrat Print in which Crouwel made his proposal for a new typeface more suitable than traditional type for the cathode-ray tube composing system. Crouwel thought it would be better to design a typeface that was suitable for this machine instead of forcing it to use the typefaces we knew. With its straight lines, 90 degree angles and 45 degree roundings, The face was as high as either big or small, it always looked exactly it was wide, thus lining in the same. He drew the New Alphabet, a every way so it would fit highly abstract font, based on a dot-matrix in every grid system. system. This typeface was merely developped as a theory, a direction of thinking. It was not meant for actual use. Crouwel gave lectures on the subject and gained a lot of response. Although it was often changed to make it more readable it was undoubtedly inspired by his original drawings.
“It was actually quite difficult to avoid Wim Crouwel’s work. In the 1960s the Netherlands was inundated with posters, catalogues, stamps designed by him, even the telephone book.” - Karel Martens This influenced him to create the word Leger with thick black lines so it would dominate the poster. Crouwel always searched for the abstract, something that would strike the eye.
Crouwel is a modernist and impressed by a typeface like Helvetica, which was more neutral than any other typeface. “A face shouldn’t have a meaning in itself, the meaning should be in the content of the text.”
The essential information was set in one returning typeface and the title of the exhibition slightly reflected the feel of the exhibition. He looked at the work of the artist, got an impression and tried to translate it typographically.
In his work Crouwel chose sans-serif faces that allowed numerous combinations, like Gill (Van Abbe museum) and Universe (Stedelijk).
FUNCTIONALIST
MODERNIST
Wim Crouwel, born in Groningen (the Netherlands) in 1928 is a remarkable and inspiring figure with an inventive spirit and vision, vigorous and always distinguished.*
He designed his first poster in 1952. After leaving artschool he became a painter leaning towards Expressionism, but as he designed this first poster he
An example of this way of working is found in the exhibition about Leger. Leger’s work could be recognized by its heavy lines around the images.
The contrast between Crouwel as a lyrical expressionist painter and objectivating functionalist designer couldn’t be more extreme. As a designer he felt related to the Bauhaus ideas, the swiss-inspired international style. He wa
Although his ideas were bauhaus-related, unlike many Crouwel was not a dogmatist. He was fascinated by the ideas about serial and mass production, as he stated “we need the machine since we have no time
But he also believed “the machine cannot replace the precision of the human eye and human feeling”. Crouwel’s work has always consisted of these two essential elements: the emotional aspect and the rational one. The task of
PURIST
Graphic design is a wide field in which Crouwel mainly focussed on type. He works quite constructive, constructs type, and works on grids.
F L
the orm the type aces the ayout representing artwork with a more advanced way of thinking that reflected what was happening with Modern Art
Redefine the visual world
promoting a new, functional aesthetic, so even a sense of promoting new thinking, new ways of looking at the world
e discovered the pleasure of organising visual information in an aesthetical context.
Design should reflect the new thinking of the time. All the little things make it interesting.
as fascinated by the rational aspect in Bauhaus typography, which he discovered through Karl Gerstner’s and Gerard Ifert’s work.
e”.
When you’re a functionalist you want to make things comprehensible, readable, make your ideas visible. I feel myself being a modernist, a functionalist, but aesthetics always stand in the way.
the designer consists of analysing the design project and solve the problems he distilled in an objective way. The message and the way it should be presented flows out of this process.
Wim Crouwel
Mr. Gridnik
Geeani Collection, the logo and entire corporate identity for the European-based fashion designer was designed by Art Genjoyan.
1947Paul Standard Geometry
can produce legible letter but art alone makes them beautiful. Art begins where geometry ends, and imparts to letters a character trascending mere measurement.
i
The differences between the sketch and the final design of the letter “i”
The designing test of different way for “m”
BD Brick font sketch for letters
The handling of feet of the letters “p”, “x”, and “1”
BD Brick font sketch for numbers
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bd brick 01234567890@
ABCDEFGHIJKLMN OPQRSTUVWXYZ@ (?!&/#%)@ abcdefghijklmn opqrstuvwxyz <<+"<>*=-$>> BD BRICK
1996
by Buro Destruct
BD Brick is based on a matrix. It was created back in 1996 and got a rework in 2007 for the usage in the Olympics 2010 in Vancouver visualizations. Its use ranges from logotypes to titling in editorial and screen design. In 1994 graphic artists’ collective «Büro Destruct» made its first appearance.
The brainchild of Fidel Berger and Lorenz Gianfreda, 1971, it developed from “Destruct Agentur”, originally founded to promote young artists. Over the next few years it grew into an internationally acclaimed design studio. Today, the four-man outfit Includes Marc Brunner, Heinz Reber, Heinz Widmer and Lopetz.
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K-MISTRY2012 by Buro Destruct a typeface is designed and inspired by Chemistry for typography project. A type poster and a flash web banner was also designed to promote the typeface.
MIND BLOCK 2006 by David Lane Mind Block was created from an old pscocanalytical block game. There are 6 elements that can be used to create patterns. After some experiments the designer, found that a 6x2 grid worked best and allowed a whole uppercase alphabet. The blocks were scanned and bitmapped.
Each of the six sides of the blocks has a different pattern. When all the blocks are arranged on the same side a complete pattern is produced. This caps alphabet is made up using four of the six sides/patterns that were available.
STRUKTUR by Shiva Nallaperumal Struktur is a geometric typeface designed by Shiua Nallaperumal inspired by herbert Bayer’s Proposal for a Universal Type (1925-1930.) It is a bold display type that has its roots firmly in the aesthetics of the Bauhaus but was designed for today’s post-modern world. It was designed keeping in mind Bayer’s original experiment to create a perfectly symmetric font that would echo the fresh new ideals the Bauhaus adopted. It has been kept as an open experiment, as did Bayer, for other designers to interpret it in their own ways rather than an end in itself. It lacks the visual correction required of a regular typeface. It is a display type that can contextually be used for headings, posters or logos. By design the forms echo the Bauhaus but by use they are flexible and neutral.
Bayer never intended for capital letters to exist in his proposal. But Shiva Nallaperumal intended this typeface to be a repositioning of his ideals for a different time and place.
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STROKE & DOT This is an example used to create a â&#x20AC;&#x153;stroke font,â&#x20AC;? the theory of which was put forward by Bauhaus designer Herbert Bayer. Helvetica is an example of this type of font. A stroke font is created using the center axis of the letter. This lends itself for use by XY plotters (as in architectural drawings) as the letter can easily and plainly be rendered using a single point. Given the size, versatility, and potential for alteration, this type of font has been appropriated for use in moving type. The type shown here is an amalgam of the stroke and dot fonts.
IDEOZYby Maciej Ratajski
Ideozy typeface derives from the minimal structure of the modern pavilion designed by Joost Glissenaar, Klaas van der Molen and Marcin Kwietowicz. The pavilion, located on the terrace of former apartment and studio of Henryk Staz ewski and Edward Krasinski, on the eleventh floor of an ordinary apartment block, is part of Instytut Awangardy and serves as an exhibition space. Shapes of letters in the typeface are based on a technical grid, a framework which restrains typographical and creative possibilities, loosely referring to the concept of ideosis. The designer Andrzej Turowski once defined ideosis as the space in which dominant political options hold sway over individual choices. It really does not matter whether this dominance is justified by historical necessity, by reasons of state, by a common understanding, or by a proper goal. What is important is that these justifications are formulated from the position of a political power that aims to subsume the decisions of individuals.
Andrzej Turowski defines ideosis in his essay on Krzysztof Wodiczko: I once defined ideosis as the space in which dominant political options hold sway over individual choices. It really does not matter whether this dominance is justified by “historical necessity”, by “reasons of state”, by a “common understanding”, or by a “proper goal”. What is important is that these justifications are formulated from the position of a political power that aims to subsume the decisions of individuals. In a way, typeface resembles a scaffold with neon inscriptions, possibly attached to a building roof. The lettering is so simple, that inscriptions could also be made with strips of scotch tape on any surface.
DENTYPO The Chinese character for â&#x20AC;&#x153;toothâ&#x20AC;? is used as a format for creating derivative letterforms. The letterforms are constructed on this shape. Its multiple strokes and complexity of form allow for a variety of sub-forms, thanks in great part to the asterisk-resembling radical (character fragment) that is in the center of the character. This radical represents rice.
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