Typography assessment for SCA 2.0


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Typography assessment for SCA 2.0

  1. 1. Art Director assessment<br />TYPOGRAPHY<br />Nathan Holley<br />
  2. 2. Historical Typography - Gutenberg<br /> The first example of mass book production in Europe was achieved by German inventor Johann Gutenberg during the mid 15th Century. Gutenberg’s invention was a method of printing from movable type, the concept involved the use of metal moulds, alloys and oil-based inks, this allowed for the first time the mass production of printed books.<br />Before Gutenberg, printing was limited and nearly solely for decorative purposes, primarily used for pictures and designs. The material which was to be printed was carved into wood, stone, and metal, rolled with ink or paint and transferred by pressure to parchment or vellum. Books were hand copied mostly by members of religious orders so were not accessible to the predominantly illiterate general public.<br /> Gutenberg’s inventionlaid the foundation for the modern day commercial mass production of books. The success of printing the general public had more access to books and therefore meant that they soon became cheaper, and ever wider parts of the population could afford them. The breakthrough of Gutenberg’s invention empowered people to follow debates and take part in discussions relevant to them, the social barriers were consequently broken down and many believe we have Gutenberg to thank for the very reason I am able to type this out in such a way.<br />Gutenberg’s 42 line bible<br />Nathan Holley<br />
  3. 3. Historical Typography - Roman Empire<br /> During the 500year reign of the Roman empire from 27BD to 474AD the developed a distinct style of type for their latinalphabet system. <br /> When the army would conquered a country they imposed their way of communication onto the culture. Because of the vast empire the Roman's once owned they were able to introduce a lettering style know as Carolingian minuscule. <br /> It was developed as a writing standard in Europeso that the alphabet could be easily recognised by the literate class from one region to another.<br /> The letter style was used throughout the empire as a stamp of the Roman’s dominance. <br />Widely regarded as one of the most beautiful pieces of typography by, the inscription on Trajan’s Column - Rome<br />Nathan Holley<br />
  4. 4. Font Comparison <br />OCCIDENTAL<br />ORIENTAL<br /><ul><li> San Serif
  5. 5. Chunky
  6. 6. Artistic
  7. 7. Bold
  8. 8. Heavy
  9. 9. Shouts
  10. 10. Styled like a wide tipped marker pen
  11. 11. Handwritten
  12. 12. Hard to read in sentence format
  13. 13. Symbol based
  14. 14. Culturally rich
  15. 15. Non conventional</li></ul>Context suggestion;<br />Oriental Food packaging<br />- Serif<br /><ul><li> Thin
  16. 16. Circular
  17. 17. Fluid elements
  18. 18. Modern
  19. 19. Strong lines
  20. 20. Clean
  21. 21. Light on the eye
  22. 22. Similar to Times New Roman, a font familiar to nearly everyone but modernised, possibly appealing to a younger (20-40) audience </li></ul>Context suggestion;<br />Classy restaurant <br />Nathan Holley<br />
  23. 23. Creating typefaces<br />Below is the basic letter form for capital letters. Although each typeface is different in one way or another, this structural diagram shows the very basic shapes and scale of capital letters in type.<br />Geofroy Tory<br /><ul><li>16th Century French Printer, Author and Typeographer
  24. 24. Influenced by architecture and the work of Leonardo da Vinci
  25. 25. Designed his typeface on the proportions of the human body</li></ul>Nathan Holley<br />
  26. 26. Impact of Typography<br />Nathan Holley<br />
  27. 27. Close up<br />I love the simple idea behind this ‘THINK!’ print advert and the type has a great deal to do with it. The Art Direction is well done, by combining the more adult based ‘times new roman’ font and the child’s hand written words a story is told in its purest form. The stylish type does not shout at the audience but rather is written almost in a poetic format, using limited amount of words to convey a poignant message. <br />This print advert for ‘The Economist’ is also very well Art Directed. The copy is put together in such an imaginative way it invites the audience's eyes to scan down the entire piece – getting the better of their own curiosity. The thick, bold typeface suggests power, with its sharp edges and rounded curves. It works well for the imagery as it is interpreted as a stack of loose block’s.<br />Nathan Holley<br />
  28. 28. Use of Typography<br />This first example has been designed with a placard format in mind. The strong block pink shade emulates T Mobile’s logo but also is acts as a visual distraction from other more mundane placards. The font I have chosen is a sanserif one and stands out from the serif styled logo as being easy to read, with distinctive curves and a thin body. <br />This second example of type I have used in work<br />Is an advert for the ‘Chip Shop awards’ competition which commends unrestricted creativity. I chose a serif typeface as I can see it appealing to a more mature audience. I have structured the type in a way that guides the audiences’ eye down the page to the revealing small print below.<br />Nathan Holley<br />
  29. 29. Typography Today<br />New process of typeface design<br />computer programs vs. hand design and casting<br />New possibilities for layout with the screen<br />computer programs vs. galleys, mobile phone &<br /> digital screen’s <br />New elements of expressing the type<br />text and images<br />sound and animation<br />screen brightness and contrast<br />Book and magazine<br />Nathan Holley<br />
  30. 30. Digitally Adopted Type<br /> was the first official digital type font, was designed in 1968 by the Hell Design Studio and was available in seven weights from light to bold.<br />Times New Roman<br />1932, The Times of London Newspaper<br />Bookman Old Style<br />1858, A.C. Phemister in Edinburgh, Scotland<br />Courier New<br />1955, Howard Kettler<br />Designed as a typewriter face<br />Commissioned by IBM<br />Design as a monospaced font<br />Nathan Holley<br />
  31. 31. Art Director assessment<br />TYPOGRAPHY<br />Nathan Holley<br />