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  • Generally, there is a group of typefaces based loosely on Garamond's work, but many of today's Garamond faces were actually designed by Jean Jannon. See the details here: http://en.wikipedia.org/wiki/Garamond.

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Typograpghy final Presentation Transcript

  • 1. By: Jessica Delvasto and Rich Wright
  • 2. So, What Is Typography? Monroe, Cupcake, Amy, MCM Hellenic Wide, FR Hopper, Velvet, and Biographer from myfonts.com
  • 3.
    • The study of the arrangement and evolution of printed letters.
    • How letters are used to optimize readability, impact and artistic form.
  • 4. Why Is It Important??? Helvetica Neue, Cutoff Pro, Brandon Grotesque, Despeinada, Mrs Eaves, Narziss, Avant Garde Gothic from myfonts.com
  • 5.
    • Typography is important because a typeface can influence how we view the content. Good typography honours its content .
  • 6.
    • Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore, While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door.
    Read the following quote: Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore, While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door.
  • 7. Etiam dolor sit amet, consectetur adipiscing elit. Vestibulum in felis eu massa porttitor volutpat at a ante. Integer cursus est vel tortor vulputate lacinia. Etiam ultrices dui et quam dictum eu consequat augue pellentesque. Praesent et augue risus. Lorem ipsum ultrices dui et quam dictum eu consequat augue pellentesque. Praesent et augue risus. Suspendisse sed sem ut nisi venenatis vulputate. Aenean bibendum tempus enim quis convallis. Cras convallis elit et odio venenatis feugiat. Fusce in tellus ac quam adipiscing auctor.
  • 8. There are several terms unique to typography, and most are quite unfamiliar to us.
  • 9. TYPEFACE
    • A set of letters, numbers, punctuation, that are of the same design or form.
  • 10.
    • A reference to which typeface in particular is being used or displayed.
    FONT
  • 11.
    • All of the typefaces under the same title; including options to slightly alter the appearance of the typeface.
    • Ex// Bold , Italic, Underline
    (Arrus by Richard Lipton) TYPE FAMILIES
  • 12. ITALIC Italics refers to a font that is designed or redesigned to slant to the right. This is different from oblique type, which many word processors use to compensate for italics which they don't have. Garamond in Roman, Italic, and Oblique
  • 13. One of the oldest types of font is called Blackletter or Gothic. It was influenced by the way the utensil was held in calligraphy. (Gothique MN by Mecanorma Collection)
  • 14.
    • These include typefaces where small lines are included at the end of certain strokes that form a character. The purpose is to guide the readers eyes from one letter or word to the next making it easier to read. Times New Roman is a Serif Font.
    SERIF FONTS (Times New Roman by Timothy Ketcher and Victor Lardent)
  • 15. SANS SERIF FONTS
    • The typefaces that fall under Sans Serif Fonts lack the small lines at the ends on a character and opts for a more simple approach.
    (Avenir by Adobe)
  • 16.
    • “ A single character in a font or typeface.”
    GLYPH (designorati.com) (Garamond)
  • 17. Ligature
    • A ligature is when more than one character is used in the same glyph. They are used to avoid collisions between letters. One common example is the pairing of “f” and “i”.
    (Garamond)
  • 18. KERNING
    • The act of editing the space between glyphs in a font.
    Tee from mysoti.com
  • 19. COPPERPLATE
    • This kind of typeface is named after an old method of creating typefaces. The original writing would be transferred onto a plate made of copper, and sheets would be made using the plates.
  • 20. Copperplate Example Theodor Matham (17th century): Galant scene
  • 21. How to Make a Typeface
  • 22. There are also many parts of the letter to consider when making a typeface. Types: Epic - Positype/TypeTrust (Neil Summerour) National - vllg (Klim, Kris Sowersby) Ligature, Loop & Stem poster by Scott Boms, Grant Hutchinson and Luke Dorny
  • 23.  
  • 24.  
  • 25.  
  • 26. Helvetica Gill Sans
  • 27.
    • Typography stemmed from the study of handwriting. It grew as print making became more significant.
  • 28.
    • With more advanced technology, typography
    • has been
    • elevated to
    • being
    a more distinguished art form.
  • 29.
    • It is most prominent in advertising and in works in which the purpose is to make a statement or convey emotion.
    Logo examples from Chermayeff & Geysmar, Raymond Loewy, and Landor Associates; respectively.
  • 30. A World of Type
  • 31. Roman type can be traced back to the days of the Roman Empire. However the Roman type is not the world’s sole Typeface, there are also Greek and Japanese.
  • 32. Greek
  • 33. Japanese
  • 34. Roman
    • This is an inscription found on Trajan’s Tower, which dates back to 113CE and was built by the Roman Empire to commemorate the victory of Caesar over the Dacians.
  • 35. Nicholas Jenson 1420-1480 Jenson‘s signature brand
  • 36. Nicolas Jenson
    • Opened a printery in Venice
    • Designed the serif style called Venetian Oldstyle, keeping in mind typographic principles and unity rather than the elegance of each individual letter
  • 37.
    • He also created Jenson
    • Centaur is a font designed in 1914 by Bruce Rogers; based on one of Nicolas Jensen's designs
    Centaur Adobe Jenson Regular
  • 38.
    • Jenson's archetype of the Roman typeface
    Excerpt taken from the "Laertis", published in Venice ca 1475.
  • 39. Claude Garamond 1480-1561
  • 40. Claude Garamond
    • Contributed much to the French language by introducing the apostrophe, accent, cedilla, and Italic to printed type
  • 41. Claude Garamond
    • Went on to create several successful Roman types such as Garamond
    Adobe Garamond
  • 42. Adobe Jenson Regular Adobe Garamond Compare…
  • 43. William Caslon 1692-1760
  • 44.
    • He was asked by the Society for Promoting Christian Knowledge to create an Arabic type in order for them to print the New Testament and send it east; when he implemented the design as a roman type, his popularity skyrocketed
    William Caslon
  • 45.
    • It is said that Caslon gave England a national typeface
    • “ When in doubt, use Caslon”
    • A favourite of Benjamin Franklin
    LTC Caslon
  • 46. Adobe Jenson Regular Adobe Garamond LTC Caslon Compare…
  • 47. Giambattista Bodoni 1740-1813
  • 48. Giambattista Bodoni
    • “ The King of Typographers” and the “Typographer of Kings”
    Lived a life quite close to one as a wealthy aristocrat. His origins often reflect in his work which is renowned for their ability to impress the eyes. LTC Bodoni 175
  • 49.
    • Found a great amount of inspiration from other typographers and built on their typefaces with his own style.
    • Created the Bodoni typeface series.
  • 50. LTC Caslon Adobe Garamond Adobe Jenson Regular LTC Bodoni 175 Compare …
  • 51. Eric Gill 1882-1947
  • 52. Eric Gill
    • His typeface, Gill Sans, was at
    • first met with disdain and
    • disapproval…
    • … however, it became the most popular sans in the United Kingdom after being released to the public.
    An eccentric man full of confusing contradictions.
  • 53.
    • Another well known font that he made is Perpetua.
    Perpetua STD Perpetua and Gill Sans
  • 54.
    • He was a devoted convert to Catholicism but held very liberal views on sex and thought of everything in terms of sex.
    & Gill Sans MT Condensed Eric Gill, Ecstasy 1910-11
  • 55. LTC Caslon Adobe Garamond LTC Bodoni 175 Perpetua STD Gill Sans STD Compare …
  • 56.  
  • 57. Herbert Bayer 1900-1985
  • 58. Herbert Bayer
    • Trained in Art Nouveau styles while at Darmstadt Art Colony
    • Worked for Bauhaus (German art school with most influence on 20th century design) (head of printing and advertising workshops)
    • In 1925, created Universal and created the sign for Bauhaus' new building
  • 59.  
  • 60.
    • As well as typography, he also delved into various forms of abstract art.
  • 61.
    • He was an artistic consultant for several companies & institutions, including the “Container Corporation of America” and the “Atlantic Richfield Company”.
    Atlantic Richfield Company logo Container Corporation of America Atlas
  • 62. LTC Caslon LTC Bodoni 175 Perpetua STD Gill Sans STD P22 Bayer Universal Compare…
  • 63. Max Miedinger 1910-1980
  • 64. Max Miedinger
    • In-house designer at the Haas house in Switzerland
    • Designed Helvetica in 1957 as a result of being commissioned to produce a more modern version of Akzidenz-Grotesk BQ
    Helvetica Roman Akzidenz-Grotesk BQ Regular
  • 65.
    • Friendly, Familiar, and Trustworthy
  • 66. LTC Bodoni 175 Perpetua STD Gill Sans STD P22 Bayer Universal Helvetica Roman Compare…
  • 67. Another notable font to compare Helvetica to is Arial. Arial was designed in 1982 by Patricia Saunders and Robin Nicholas and made for use on computers. It is standard with all Microsoft operating systems. Arial is often regarded as being an imitation of Helvetica.
  • 68. Typography Today
  • 69.
    • Modern technology has made painstaking print work nearly obsolete
    • Typography is now most prominent in both art and advertising
    In The End by Tim Lahan
  • 70.  
  • 71.  
  • 72. Choosing a Typeface Julian Hansen
  • 73. When choosing typefaces for a project, it may be necessary to use more than one. In this case it may be possible to use multiple typefaces from the same family. When pairing a serif typeface with a sans serif, use two typefaces with similar inner structures; typefaces of the same designer or time period usually work well.
  • 74. Univers Light Frutiger Roman Meridien LTSD-Roman Above typefaces by Adrian Frutiger abpfioeg abpfioeg Georgia by Ascender Corp Arial Black by Patricia Saunders and Robin Nicholas
  • 75. As the art of typography continues to evolve, so will the way we see the world. From signs to magazines and logos to computer screens; the subtle serifs, sans serifs, kerning, and ligatures will continue to affect what we think and feel.