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[p2]: 2
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[p2]: 1
Garamond is a typeface first introduced by Claude Garamond when he cut types for a Parisian scholar-printer. Sixty years after Garamond’s death Jean Jannon created a set of typefaces similar to garamond, but were more asymmetrical and irregular in slope and axis. The typeface disappeared for two hundred years and when it resurfaced it was wrongly attributed to Claude Garamond until 1972. The typeface is a serif font that has thicker tails, stem, and shoulders with thinner strokes for bars, cross bars, and terminals. keywords: sleek, contrast, thin
Serifa is a typeface designed in 1966 by a Swedish designer, Adrian Frutiger. It is based off of Frutiger’s earlier typeface, Univers, and was designed for the Bauer foundry. It is a slab serif font typeface with humanistic forms that make it easier to read than most slab serif fonts. This makes it readable for headlines and logos. keywords bold, consistent, strong
Platelet is a typeface designed by Conor Mangat when he attended a 4-day workshop to create a typeface for a specific outdoor purpose at CalArts in October 1992 . Mangat based platelet off of characters found on California’s license plates and Emigre decided to put it on the market in July 1994. The font is unique for its direct imitation of license plate lettering as the letters were traced on wax paper. keywords: curvy, robotic, fun
p1: final
The third and final phase allowed us to lock text into any corner with any three sizes and any three styles of Univers. Of those fifteen layouts here are my final three:
The link to the final book for this project can be found here
[p1]: 4
Phase 2 of our first type project allowed us to use any two 2 weights of Univers, any 3 sizes, and type could now lock up in the upper left or bottom left corner. At the start of this phase I still felt pretty confined by the rules, but as I got down to my last page I was able to see how I developed through the process. After exploring I went back and fixed my first few spreads because the last ten or so were so much better. Here are three of my favorites
We also researched six different designers, alive and dead.
Paul Rand was an American graphic designer best known for his logo design. Companies like UPS, IBM, Cummins Engine, and Westinghouse owe their design to Rand. Rand was a recluse in most of creative process and was very interested in producing books of theory to illuminate his philosophies.
Max Huber was a Swiss graphic designer in the twentieth century. He designed art for magazines, records and concert stages. He was also an art instructor and exhibited work internationally. Huber experienced some of the most productive years of his life as creative director for Einaudi’s publishing house. He was fond of jazz music and worked on several stunning album covers. Huber was later passionate about teaching.
Herb Lubalin was famous for his design with letters, which changed peoples vision and perceptions of words. He pushed past the norms of copyright design in advertisements and transformed magazines to powerful communication medium. He made meaning with words and raised typography from a craft to an art.
Armin Hoffman is a legendary Swiss graphic designer and educator. Hoffman’s influence over generations of designers is one of his many distinguishing qualities. His teaching methods are seen as unorthodox, but he set certain standards that were quickly adopted by other institutions world-wide. He authored the book Graphic Design Manual, which is still printed and used today. Hoffman also played a huge role in the creation of the Swiss Style.
April Greiman is a contemporary American graphic designer who is seen as the first to really utilize the computer as a tool. Greiman grew up in New York and studied at the Kansas City Art Institute before she went to Switzerland to learnd under Armin Hoffman and Wolfgang Weingart. Greiman embraced technology in design when others were afraid of it. She has been an integral part in spreading this technique and currently teaches art at Woodbury University.
Stefan Sagmeister is known for his “bad-boy” attitude in the design world and upsets the norms by tricking the senses in his designs. He disorients images and turns convention upside down. For example, at an AIGA lecture event he painted the exhibition title on his chest and took photos of his nude body before and after eating 100 different kinds of junk food. Sagmaster is very unorthodox. He took a 1 year sabbatical and afterwards changed his company to Sagmaster & Walsh with the edition of Jessica Walsh. Sagmeister is a leader to satisfy his own curiosity and restlessness. He follows the direction that seems juicy.
sources:
http://www.famousgraphicdesigners.org/armin-hofmann
http://www.aiga.org/medalist-stefan-sagmeister/
http://www.paul-rand.com/foundation/biography/
[p1]: 3
After creating 15 spreads with paper and scissors, we then moved onto 15 new spreads on the computer. The rules still restricted us to two strokes, one font, and all four lines of text, except this time we got to use color.
Since we are using the font Univers, it made sense to learn about the designer of this typeface. Adrian Frutiger was born in Switzerland in 1928 and received training in type at the Zurich School of Art and Crafts. He worked for Deberny & Peignot where he created the typefaces Ondine and Meridien.
He produced the font Univers for metal and film in 1957, which led to his recognition as an international typeface designer. He eventually opened his own studio and was a professor for 18 years.
He received several awards and honors such as the Gutenberg Prize of the City of Mainz (Germany), Medal of the Type Directors Club of New York, Officier de l’Ordre des Arts et des Lettres (Paris), and Grand Prix National des Arts Graphiques (France). Frutiger also worked as a consultant for IBM and the Stempel typefoundry.
[P1]: 2
Given four lines of text, two sizes and two stroke widths, we were to cut and paste these lines in the upper left corners on the grids. By the 10th grid I was ready to be done, so I can’t say that all 15 spreads were my best work. Using the same text, width, and sizes so many times really does stretch your creativity. Here are three of mine
[P1]: 1
Jan Tschichold was a powerful influence on the world of typography. Tschichold was raised in Germany and began working in typography very young.
The Nazi’s seized most of his work as they deemed it a threat to Germany’s culture. After he fled the country he wrote Die Neue Typographie and condemned all fonts that weren’t sans-serif.
While working for Penguin Books he created a standardized practice for all of their book covers. Later in his life he reversed his book and advocated for roman typefaces and blocks of copy.
[po]
we’ve kicked off the year of Typography with a word assignment. In each group we were responsible for three letters. We chose a nature theme, and mine is the beginning of the word “thoughtfully.” We had to go out and find things around us that looked like typography.
Together we completed the word
signage
This is another blog post about type, except this one is bad. Bad type I mean, not a bad blog post. How many signs have you seen and gone, ew? I know as a designer I probably say that more than the average person, but there are still some worthy enough of an “ew” to the average eye. For a project in class we are re-designing bad signage by replacing the font with Helvetica. These are a few of the signs I think are worthy of re-vamping
What do you think?
helvetica
Everyone has seen this font, and if you think you havent, you probably don’t know what it looks like. Because it’s everywhere. It’s on street signs. It’s on instruction manuals. It’s on tons of logos. It’s even on your tax forms. To prove it, look below
So why is this? Could it be because its sleekness? cleanness? but also fun-ness? Well if you’re really, really interested…you should watch the documentary called Helvetica because it’s awesome. This could also just be because I love typeface design and an entire documentary about it intrigued me. It is a typeface we can’t escape from. It’s like air. It’s everywhere. And it can display two completely different messages. It’s neutral and takes on the meaning behind the words, rather than imposing one on it.
There are some designers who think the overuse of helvetica is ruining the design. Others think its a beautiful and universal typeface. Personally, I love the font. This could also be because I’m a young designer, so I haven’t used it a million times because I haven’t had the opportunity to use it a million times. Either way, I found it incredibly interesting that this loveable typeface is everywhere and I didn’t even know it. Here are a few more
Rylie By Design 