The A - Z of Typeface Design

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2 ROCKWELL Typefaces have been the subject of ongoing development since the invention of the printed word. is a geometric slab serif that like many typefaces has been influenced many designers. It was designed and refined in the early 1900s, with many designers contributing to its makeup. The of today was designed at Monotype, with its development overseen by Frank Hinman Pierpont, it has inspired the creation of many other slab serif typefaces that are available today. Initial Development Around 1910 Inland Type Foundry released the original typeface named then as Litho Antique designed by William Schraubstadter (, 2011, August 19). In the years after its release Litho Antique was very popular long with many other similar typefaces, so American Type Founders decided to rerelease the font after making some changes (, 2011, August 19). Morris Fuller Benton modified Litho Antique adding multiple new characters and naming it Antique, which was published in 1931 (, 2011, August 19). In 1932 Frank Hinman Pierpont, Monotypes manager, directed for the typeface to be redesigned. It was then later released as the typeface we know as, with changes made to the spacing, letter weight and changes to glyph formation. Monotype and Frank Hinman Pierpont Monotype was started in the 19th century and is still in operation today (Monotype, n.d.). It has been one of the global leaders in typeface design operating for over 125 years, with over 18,000 typefaces within its libraries (Monotype, n.d.). They offer access to a range of fonts, including modern designs as well as the classics. Today they work at converting typefaces for digital use, to perform across a variety of screen sizes and formats. Their main area of business is type, with font and design services, striving for customers to have access to high quality, appealing types that can be used in multiple areas. They provide a widespread range of fonts in many styles, as well as being able to generate custom fonts (Monotype, n.d.). They also offer services and products in many other areas including, screen imaging, Monotype offer effective technologies that make sure that typefaces look good at any size or resolution on any screen (Monotype, n.d.). Monotype has services and tools that guarantee that a high quality is met when printing, as they have many options to ensure the right technique is chosen. They also make sure that the right document format is used for the given situation (Monotype, n.d.). As companies can invest a lot of money into the accumulation of typefaces they often need a way to manage and store them, Monotype offer an effective and efficient system for managing typefaces. They also provide tools to help with the creative process of designing and creating typefaces (Monotype, n.d.). Frank Hinman Pierpont the overseer of the redesign of was born in New Haven, Connecticut in 1860 and died in London in 1937 (Frank Hinman Pierpont Fonts, n.d.), (Frank Hinman Pierpont «MyFonts, n.d.). He was a trained mechanic who became the director of the typography typesetting machine factory from 1896 (Frank Hinman Pierpont Fonts, n.d.). He later moved to England to become the foundry manager at Monotype in 1899, where he stayed till he retired in His main role at Monotype was adjusting existing typefaces to suit the machines they had in use at the time (Macmillan, 2006). Peirpont over saw the designing of other typefaces apart from including Plantin a transitional typeface, which is the name for the group of typefaces between the change from the old style of serif typefaces to the modern, they tend to have a more vertical axis and sharper serifs (Typefaces, n.d.). Plantin was developed in at Monotype, it was based on the Gros Cicero typeface from the 16th century by Robert Granjon (Typefaces, n.d.). Another typeface he was involved with was Horley Old Style that was also designed at Monotype in 1926 and was recently revised by Tania Raposo in 2009 (Typefaces, n.d.). Monotype Grotesque was developed in 1926 and was supervised by Pierpont and served as a model for the development of Arial. Pierpont was also responsible for the designing of Rodeo in 1934 (Typefaces, n.d.)

3 Competitors Development Many type foundries have their own version of the typeface. For example Linotype has ITC Lubalin Graph, Exljbris has Museo Slab, Hoefler & Co. has Klinic Slab, Font.com has serifa, The League of Movable Type has Chunk and MyFonts.com has Choplin. The role that plays when selected as a design feature of apiece was seen as important to other type foundries and left a hole in their selection of typefaces that lead them to develop their own typeface that had a similar feel and design to it. Category of Typeface Slab Serifs were developed in the 1800s in Britain and can also be known as Egyptian, square serifs or mechanical (Flask, D, n.d.). The idea was inspired by a new trend in advertising and new innovations in printing technology, advertisers were looking for something that stood out, which was what brought on the development of the display typeface (Johno, Yes, H. 2008), (Flask, D, n.d.). Their substantial serifs distinguish slab serifs from other categories of typefaces, they are used for display and decorative purposes as generally at smaller sizes the serifs make it harder for the type to be read. Variations is available in many variations: - Std Light - Std - Std Bold - Std ExtraBold - Std Condensed Bold - Light - Light Italic - Italic - Bold - Condensed - WGL Light - WGL Regular - WGL Bold - - Bold Italic - ExtraBold - Condensed Bold - WGL Light Italic -WGL Italic - WGL Bold Italic - Std Light Italic - Std Italic - Std Bold Italic - Std Condensed This is a lot of options, which is good for designers so they can use the typeface for many situations (, n.d.). For example a condensed version of would be good if you had a limited amount of space you need to fit the text onto. Any Italic version can be used for when you need something to stand out from the rest of the text. The Italic versions of the typeface are when the letters slant to the right and are used to show importance or separate different types of material. Bold increases the thickness of the characters and makes them stand out from the rest of the text. Having the typeface designed in these different versions is better than hitting the standard Bold or Italic button as it does not take in to consideration the various characteristics of the particular typeface you are using but just applies a standard application. Where as if you use the various designs that a designer has gone to the trouble of making available, you know that the different variations are going to complement each other and follow the same themes and not apply an awkward standard application of the style

-6- -7- (http://www.pencilscoop.com/2013/04/15-quality-fonts-fordesigners/) Some of the variations can be seen in the image above.

4 ( Some of the variations can be seen in the image above. Characteristics is a geometric slab serif, the serifs have a similar weight to the horizontal strokes of the letters, creating minimal contrast (, 2015). The serifs are also strong squared serifs, with the letters made of straight lines and perfect angles or perfect circles (brianbaik86, 2011). The even stroke width with the tall x-height gives the typeface a strong look (Anatomy of Type, n.d.). Because of its blocky appearance is best used as a headline typeface and not being used for blocks of text that need a lot of reading (brianbaik86, 2011). However some of the more modern additions of the family have been made to be easier to read in paragraphs of text. is a strong, mechanical and reliable typeface, which has become more practical with the various weights that have become available (, 2015). works well when paired with geometric san serifs, geometric typefaces are based on geometric shapes. Designers in the 20th and 21st century used this technique and it has been popular since then. Another example of a geometric typeface is Futura (GmbH, M, n.d.). displays a large contrast between the letters that contain serifs, arms, vertexes, crotches, legs and ears than those with spines, bowls, shoulders, loops and stress (Anatomy of Type, n.d.). As the first set of anatomy parts listed are very angular and sharp with the second being very round, smooth and circular. However in this instance they compliment each other very well as without the circular aspects would be a very harsh and sharp typeface (The most popular fonts used by designers, n.d.). The rounded aspects adding an easier going feel to the typeface (The most popular fonts used by designers, n.d.). has some very distinctive features some Characteristics of the typeface include, in the capital Q the tail lies completely outside the bowl, the has a curved foot, the a is two-story, the m is quite wide, the G has no spur, the A has a distinctive apex compared to other typefaces, there is no bracketing applied to the letters but angles and corners and the O in is closer to a circle than an ellipse (Anatomy of Type, n.d.), (brianbaik86, 2011). Along with the strong squared serifs, vertical stress, the minimal contrast in the weight of the letters, the short descenders and ascenders and a tall x-height (brianbaik86, 2011), (The most popular fonts used by designers, n.d.). The Swish on the capital Q at its thickest point stays the same weight as the rest of the letters but at its thinnest is quiet thin in comparison to other anatomy of the letters (brianbaik86, 2011), (The most popular fonts used by designers, n.d.).

5 other subjects associated with men. has been related to the modernist movement as it was commonly used in the modern era. It has also been popular among the surf and skate cultures, in areas of home decor and in the web culture. Summary is a very angular slab serif typeface that conveys strength and power as well as straight forwardness. It is an adaptable, versatile typeface that can be used in many situations, especially with the availability of such a large font family making it more suitable for larger blocks of text than its original. It was developed over many years and was refined by Monotype in 1932 being overseen by Frank Hinman Pierpont. Its main use has been for display as headings for various documents, including posters and its use in logos. Its success brought on the development of many other geometric slab serifs and their use is still popular today ( Strengths and uses The typeface is a very adaptable typeface, we can see this just by looking at some of the circumstances that it has been used in. For example its use in the Malibu Rum Logo, in this instance it takes on a relaxed beach feeling and works well (, n.d.). But also it s used effectively as the cover typeface for the Guinness world records book where it takes a strong, demanding presence (, n.d.). Its use in the Hollywood Records logo is strong and attention grabbing (, n.d.). This demonstrates the diversity of as a display typeface and is often used as headings for posters and other documents. It is often described as a straightforward, honest typeface that is very versatile. It is also labelled as a very masculine typeface due to its hard angles and corners. Which is why it has been seen in advertising pitched at men such as car ads and outdoor activities and

6 Rock The A - Z of Typeface Design Roc Rockwel Rockw References Johno, Yes, H. (2008). A Brief History of Type Part 5 I Love Typography. Retrieved from Anatomy of Type. (n.d.). Retrieved 14 March 2015, from typographydeconstructed.com/category/anatomy-of-type/ brianbaik86. (2011). Typography: research, presentation, writing-. Retrieved from com/2011/06/28/typography-research- presentation-writing-rockwell/ Flask, D. (n.d.). Type Classification: Design Is History. Retrieved 14 March 2015, from Frank Hinman Pierpont Fonts. (n.d.). Retrieved 15 March 2015, from Frank Hinman Pierpont «MyFonts. (n.d.). Retrieved 15 March 2015, from Full Text Electronic Journal List. (n.d.). Retrieved 12 March 2015, from GmbH, M., (n.d.). Geometric Fonts - Linotype Font Feature. Retrieved 14 March 2015, from html. (2011, August 19). Retrieved 15 March 2015, from (2015). Retrieved from typefaces/rockwell/

7 . (n.d.-a). Retrieved 12 March 2015, from com/font/monotype/rockwell#product_top Monotype (n.d.). Retrieved 12 March 2015, from monotype.com/ The most popular fonts used by designers. (n.d.). Retrieved from designers/ Typefaces. (n.d.). Frank Hinman Pierpont. Retrieved 12 March 2015, from Macmillan, N. (2006). An A-Z of Type Designers. United States: Yale University Press. (n.d.-b). Retrieved 19 March 2015, from (n.d.-c). Retrieved 19 March 2015, from com/2013/04/15- Refletive Report I really enjoyed the Letterpress workshop, learning about the process and getting to have a go myself. It was fun getting to walk around and physically choose the typeface you were going to use. However it did take a little longer to make a decision, as you had to lay the different types out for yourself, compared to on the computer when you click a button and the typeface and elements change. Once I finished finding the typefaces I wanted to use and had laid them out in a design I liked, after trying to get my head around having the letters the right way round and in the correct order. I started assembling the letters in the frame, using furniture and leading, making sure the letters were compact in the frame once the quoins where tightened. This was a very long and frustrating process, which once I had completed was hard to tell if the design was how I had imagined in my head, with positioning and spacing. The actual printing of the design was a little intimidating, as the Letterpress is so big and at times loud. It was still exciting though as it was a new experience and you got to see the product of all that work laying the design out. I was pretty happy with how my design came out over all; there was just one section of leading that was larger than other parts of the design. I liked the effect of the ink, with how it didn t come out completely solid with the age and use of the typefaces evident in the print, with the dings and imperfections coming through, adding character to the print. I did enjoy the Letterpress workshop, but it did make me appreciate me computer and various applications a lot more. On my computer I can change my designs a lot quicker and test many options before making a decision. In the letterpress I felt very limited in what I could do as we were restricted to the typefaces that were in the workshop as well as making sure we had all the letters we needed and another student wasn t using the typeface. It also took a very long time to complete the one print, which if I was

8 designing on my computer I would have completed a lot faster and hopefully been more satisfied with my end result, as I ended up fixing some of the spacing issues in Photoshop after the workshop. It was also difficult to visualize my over all design with the elements being backwards and with all the furniture used I had difficulty imagining the spacing between the elements, I guess it would be something you had to get used to. But part of my design process is usually printing tests or seeing the design in context then making any changes I feel are necessary, which wasn t really possible in this situation. -14-

TYPE ANATOMY jtittle

TYPE ANATOMY jtittle TYPE ANATOMY TYPE ANATOMY TITTLE j Serif Typefaces Tt HUMANIST (a.k.a. Old Style ) - Modeled after the roman typefaces of 15 th & 16 th centuries - Closely related to calligraphy and hand movement CLASSIC