typography Typography is what language looks like.

Transcription

1 typography Typography is what language looks like.

2 typography Typography is what language looks like. One thing absolutely necessary for working with type is knowing its history: what came after what and, more importantly, why.

3 a quick primer Pictograms Hieroglyphs Phoenicians Greek Roman Scribes Gutenberg 6000 BC 3200 bc 1200 bc 800 bc 113 CE (1 st century)

4 Classical/Oldstyle Transitional Modern Arts & Crafts Swiss Contemporary

5 Classical/Oldstyle Transitional Modern Arts & Crafts Swiss Contemporary Nicolas Jenson Pietro Bembo Claude Garamond

6 Classical/Oldstyle Nicolas Jenson Francesco Griffo Pietro Bembo Claude Garamond Classical, or humanist types, have strong roots in calligraphy, mimicking the handwriting of earlier Italian scholars and scribes. Old Style types, although sharing the same roots, show a marked departure. It s from this period, that type gets into gear.

7 nicolas jenson A specimen of Nicolas Jenson s archetypal Roman typeface Laertis, Venice, 1475

8 nicolas jenson Inspired Typefaces (Humanist) centaur bruce rogers, 1914 Cloister Morris Fuller Benton, 1926 Adobe Jenson Robert Slimbach, 1996

9 Francesco Griffo (worked for Venetian printer, Aldus Manutius) A specimen of Griffo s typeface, from a 60-page text about a journey to Mount Aetna written by the young Italian poet Pietro Bembo De Aetna, Venice, 1495

10 Francesco Griffo Inspired Typefaces Bembo Stanley Morison, 1929 Minion Robert Slimbach, 1990

11 claude garamond Parisian type founder, publisher, punch cutter, type designer Garamond s roman text face, (based on type from De Aetna) 1540

12 claude garamond Inspired Typefaces Adobe Garamond Robert Slimbach, 1989 Adobe Garamond Premier Pro Robert Slimbach, 2004 Sabon Jan Tschichold, 1967

13 Classical/Oldstyle Transitional Modern Arts & Crafts Swiss Contemporary Nicolas Jenson Pietro Bembo Claude Garamond William Caslon John Baskerville

14 Transitional William Caslon John Baskerville This new type design, belonging to the 18th century, is now called Transitional because of its intermediate position between the Old Style and Modern styles. Faces features higher level of contrast, mostly vertical stress, and a more linear, austere design.

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16 william caslon English roman, a Latin text face of the Caslon typefaces. Caslon Specimen Sheet, 1764

17 william caslon Inspired Typefaces Adobe Caslon Carol Twombly, 1990 Caslon Open Face Barnhart Brothers and Spindler,1915

18 john baskerville English businessman, printer and typographer. Folio Bible, Cambridge, 1763

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20 john baskerville Inspired Typefaces Baskerville Bruce Rogers, 1917 Baskerville Old Face Stanley Morrison, 1923 Mrs. Eaves Zuzana Licko, 1996

21 Classical/Oldstyle Transitional Modern Arts & Crafts Swiss Contemporary Nicolas Jenson Pietro Bembo Claude Garamond William Caslon John Baskerville Giambattista Bodoni Frederic Goudy Slab Serifs Grotesques

22 Modern Giambattista Bodoni Slab Serifs Frederic Goudy Grotesque Modern fonts have drastically increased contrast, leading this parameter almost to the edge of legibility and technical feasibility. The most notable Modern offsprings are slab serif fonts (New Century Schoolbook is the most widely used Clarendon font).

23 Giambattista Bodoni Italian typographer, most prolific creator of type. Manuale Tipografico, Parma, 1818

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25 Giambattista Bodoni Inspired Typefaces Bauer Bodoni Heinrich Jost, 1926 Bodoni ATF Morris Fuller Benton, 1907 Filosofia Zuzana Licko, 1996

26 similar neoclassical faces Didot Firmin Didot, 1811 Walbaum JE Walbaum, 1800

27 What Prompted Change? 18th Century pinnacle for letterpress printing 19th Century Mechanicazation offers greater speed at lower quality. Didot and Bodoni cannot survive poor printing conditions, and thick slabs and grotesques are developed.

28 slab serifs

29 clarendon Created by Robert Besley (England), 1845 One of the first egyptian slab serif typefaces

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31 clarendon inspired typefaces Century Schoolbook Morris Fuller Benton, 1918 Goudy Old Style Frederic Goudy, 1915

32 clarendon inspired typefaces Century Schoolbook abcdefg abcdefg Qa Goudy Old Style abcdefg abcdefg qa Bodoni abcdefg abcdefg qa Didot abcdefg abcdefg qa

33 wood type 1820 s Metal type casting was limited to a few inches in height due to difficulties of casting larger type, the weight and the cost. Darius Wells invented the lateral router (1820), a saw that could cut curves in wood allowing for the production of a lighter, larger and cheaper letterform.

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38 woodtype inspired typefaces rosewood adobe Knockout Hoefler & Frere-Jones, 2004

39 Grotesque Early sans-serifs Akzidenz Grotesk Hermann Berthold, 1898 Didot abcdefg abcdefg qa

40 Grotesque Akzidenz Grotesk Hermann Berthold, 1898 Franklin Gothic Morris Fuller Benton, 1872

41 Classical/Oldstyle Transitional Modern Arts & Crafts Swiss Contemporary Nicolas Jenson Pietro Bembo Claude Garamond William Caslon John Baskerville Giambattista Bodoni Frederic Goudy Slab Serifs Grotesques Charles Rennie Mackintosh Erik Gill Paul Renner Futura Memphis

42 Arts & Crafts Charles Rennie Mackintosh Erik Gill Arts & Crafts movement set out to revive the use of fine typography. The typography from Arts & Crafts is characterized as decorative and flourished.

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44 Charles Rennie Mackintosh Scottish architect, designer and sculptor.

45 Mackintosh inspired Typefaces

46 Eric Gill British sculptor, typeface designer, stonecutter and printmaker Title Page: Troilus and Criseyde, Wood Engraving, 1929

47 Gill Typefaces Gill Sans (based on Caslon) 1927 Perpetua (based on Baskerville) 1926 Joanna (based on Garamond) 1931

48 Paul Renner German typeface designer Swiss National Tourist Office, Zurich, 1933

49 Renner Typefaces Futura 1927 Braggadocio (based on Futura Black) Monotype Corporation, 1930 Gotham (inspired by Futura) 2000

50 Classical/Oldstyle Transitional Modern Arts & Crafts Swiss Contemporary Nicolas Jenson Pietro Bembo Claude Garamond William Caslon John Baskerville Giambattista Bodoni Frederic Goudy Slab Serifs Grotesques Charles Rennie Mackintosh Erik Gill Paul Renner Futura Memphis Adrian Frutiger Max Miedinger Jan Tschichold Helvetica Univers

51 Swiss Adrian Frutiger Max Miedinger Jan Tschichold The Swiss Style (also known as the International Typographic Style), developed in Switzerland in the 1950s. It emphasizes cleanliness, readability and objectivity. Hallmarks of the Swiss style are asymmetric layouts, use of a grid, sans-serif typefaces, and flush left, ragged right text.

52 Adrian Frutiger b Swiss typeface designer

53 Frutiger typefaces Univers 1957 Frutiger 1975 Avenir 1988

54 Max Miedinger Swiss typeface designer

55 Miedinger typefaces Helvetica 1957 Helvetica Neue Erik Spiekermann, 1983 Swiss 721 Matthew Carter, 1981

56 Jan Tschichold German typeface designer

57 Tschichold typefaces Transit 1931 Sabon (based on Garamond) 1967

58 Classical/Oldstyle Transitional Modern Arts & Crafts Swiss Contemporary Nicolas Jenson Pietro Bembo Claude Garamond William Caslon John Baskerville Giambattista Bodoni Frederic Goudy Slab Serifs Grotesques Charles Rennie Mackintosh Erik Gill Paul Renner Futura Memphis Adrian Frutiger Max Miedinger Jan Tschichold Helvetica Univers Matthew Carter Erik Spiekermann Zuzana Licko Herb Lubalin Trade Gothic Palatino Matrix Avant Garde

59 Contemporary Matthew Carter Erik Spiekermann Zuzana Licko Herb Lubalin Contemporary typography draws on historical type developments. It has also been shaken by problems caused by the emergence of inexpensive powerful design software. Many designers feel there is a cheapening of the quality of type, especially as metal type transfored into digital sets that don t make allowances for the subtle changes in proportion and shape for different sizes and weights.

60 Matthew Carter b British born typographer. One of the few type designers who have created typefaces for fonts in metal, photo and the digital medium. Walker Typeface, 1995

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62 carter Typefaces Bell Centennial 1978 Miller 1997 Snell Roundhand 1965

63 carter Typefaces Georgia 1996 Tahoma 1994 Verdana 1997

64 Erik Spiekermann b German typographer and designer, founded MetaDesign Spierkerblog,

65 Spiekermann Typefaces ITC Officina Sans 1991 ITC Officina Serif 1991 FF Meta

66 Zuzana Licko b Slovak typographer, founded Emigre. Known for 2 notable revivals: Mrs. Eaves (based on Baskerville) and Filosofia (Bodoni)

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68 Licko Typefaces Mrs. Eaves 1996 Filosofia 1996 Matrix Script 1992

69 Licko Typefaces Mrs. Eaves 1996 Filosofia 1996 Baskerville abcdefg abcdefg qa Bodoni abcdefg abcdefg qa Matrix Script 1992

70 Licko Typefaces cholla 1997 Journal 1990 Soda Script 1995

71 Herb Lubalin Typographer, designer, responsible for 3 important publications: Eros, Fact, and Avant Garde; designed typeface ITC Avant Garde

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75 lubalin Typefaces Avant Garde Gothic 1968 ITC Avant Garde Gothic Condensed Ed Benguiat, 1974 Century Gothic (inspired by Avant Garde) Monotype Corporation, 1991