...Garamond is a group of Old-Style1 typefaces, originally designed by French craftsman Claude Garamond in the sixteenth century, a time deemed as the golden age of French typography. With the evident influence of calligraphy, the classic design is one of the most successful typographic achievements not only in the old era but also today. Bespeaking stately elegance and rhythm, it offers legibility, readability to be suitable for a wide range of different applications. Analysis • Legibility Counters: moderate counters x-height: moderate ratio (61%) Width and weight: compared with other serif typefaces, Garamond is a relatively slightly narrow (X=103%) and light (tk=11%, tn=4%) type with clear stroke contrast. The variations in width are...
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...Response to Questions Name Institution Date Explain how the ‘truth’ of photographic images has always been a contested idea. Cite one example from the ‘pre-digital’ era, and one from contemporary culture to illustrate your argument. The images of the photographic in the pre-digital era were taken as the proof and evidence of reality. However, today this belief might not hold because of the technology that might aid the editing of the photographic to assume content and the background preferred by the user. At the pre-digital era, no such techniques were available and the possibility of an individual faking a photographic image was beyond the imaginations of the people (Joyce, 2012, p. 35). This made people believe that the photographic images were nothing but the truth on the ground. This belief was majorly the reason that the people were made to believe on the existence of fairies. People believe that the two photographic images taken by the two girls, Iris and Alice, were the truth and were evidence of existence of before-then, mythical and tale fairies. Nevertheless, the ambiguous nature of the believed existence of fairies and the fact that it was only the two girls who had the chance to interact and photograph the fairies prompted the questions on the authenticity of the images (Alex, 2014, p. 50). There has been a contest to express and defend the truth of photographic images. In the article, Borderland Borms: Arthur Conan Doyle, Albion Daughters, and the politics...
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...body copy. During the 1990s, Adrian Frutiger worked together with Linotype to expand his cl assic Univers family. The result, Linotype Univers, includes 63 different weight s, each drawn carefully to ensure compatibility with all the others. > http://typophile.com/node/13516 ================================================================================ Adrian Frutiger is best known as a type-designer. He has produced some of the mo st well known and widely used typefaces. He was born in 1928 in Interlaken, Swit zerland, and by the age of 16 was working as a printer's apprentice near his hom e town. Following this he moved to Zurich where he studied at the Zurich School of Arts and Crafts, under Professor Walter Kach. After his education in Zurich, Frutiger moved to Paris where he started to work at the Deberny & Peignot typefoundry. Here he helped the foundry move classic ty pefaces used with traditional printing methods to newer phototypesetting technol ogies. At the same time Frutiger started to design his own typefaces, a few of which be came very significant, and this earned him his status as a great type designer. Throughout his career he has produced a number...
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...communication and they all convey a certain message directed to society. One of the most powerful tools of visual communication is Typography. At first, some people may consider it as something that is not important but it is proven that typefaces can both attract and disgust readers as well as affect us on a subconscious level. Typography gives the text a certain character and individuality and as Walter Tracy puts it “typography means the process of making the words visually attractive and effective” (Baines and Haslam, 2005). One particular style that has left an enormous mark in the history of typography is the international typographic style and it is still utilised for a lot of contemporary design work. This particular style has its roots formed by the modernist movement that started a few decades before it emerged. The style was later called The International Typographic style because it was mainly built on the use of typography. There are two typefaces that are the big stars of the Swiss style, the so called “Sans Serif Twins”, Univers and Helvetica. Both of them gained huge popularity among typographers right after their emergence and up to date they are still one of the most favorable typefaces in the world. How can that be possible? How can typefaces designed half a century ago still be used in contemporary practice? Both Helvetica and Univers are special in their own way. Univers was designed by Adrian Frutiger in 1954 in Paris and...
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...decorative typestyles in a negative reaction to the formal typefaces used in the schools at that time. After his high school he started working as a compositor, then he continued to get trained at the Zurich school of Arts and Crafts from 1949 to 1951. In 1952 got an invitation from Charles Peignot to administer the drawing office at Deberny & Peignot in Paris which was the foundry who produced metal type and fonts for Lumitype/Photon phototype setting systems. He is a mainly a typeface designer and his work continues to influence the designers and the typographic work in 21st century. Throughout his career when he designed his first official typeface in 1954 which was called Ondine, he designed about 31 different typefaces and his last official typeface was released in 2009 which was called Neue Frutiger. He designed a number of different typefaces but the most known typefaces he designed were Univers and Frutiger. He designed Univers in 1954 and currently includes over 40 typefaces, Universe was his most significant contribution in France which he created for filmsetting and it was also available in different weights and heights. Similar to the typeface Gill Sans which was designed by Eric Gill in 1926, Univers did more to help He produced his first typeface by cutting and pasting black paper shapes, and created a black and white contrast which became an important part of his professional life. He designed a lot more typefaces in the 1950s but the one which gave him an international...
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...the nib and the brush, instead of drafting tools. ------------------------------------------------- Work summary[edit] Specimens of typefaces by Adrian Frutiger. An Illustration showing the typefaces Frutiger Serif and Frutiger Next in use. Charles Peignot, of the Paris foundry Deberny Et Peignot, recruited Frutiger based upon the quality of the illustrated essay Schrift / Écriture / Lettering: the development of European letter types carved in wood. Frutiger's wood-engraved illustrations of the essay demonstrated his skill, meticulousness, and knowledge of letterforms. At Deberny & Peignot foundry, Frutiger designed the typefaces "Président", "Méridien", and "Ondine". In the event, Charles Peignot set Frutiger to work upon converting extant typefaces for the new phototypesetting Linotype equipment. Adrian Frutiger's first commercial typeface was Président — a set of titling capital letters with small, bracketed serifs, released in 1954. A calligraphic, informal, script face, Ondine ("wave" in French), also was released in 1954. In 1955, Méridien, a glyphic, old-style, serif text face was released. The typeface shows inspiration by Nicholas Jenson, and, in the Méridien type, Frutiger's ideas of letter construction, unity, and organic form, are first expressed together. In 1956, he designed his first-of-three, slab-serif typefaces — Egyptienne, on the Clarendon model; after Univers, it was the second, new text face to be commissioned...
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...Thirty years of Gerard Unger's highly legible text and display typefaces can now be seen together on his new Web site. Written by John D. Berry on February 9, 2003 No votes yet Categories: Fonts, Features Like Related Articles dot-font: Can a Book Teach You to Set Type Perfectly? dot-font: The Typographic Art of Matthew Carter dot-font: Stop Stealing Sheep -Again dot-font: Type Comes Home to Rome dot-font: The "X" Appeal of James Montalbano Gerard Unger's typeface designs have added both style and legibility to any number of publications. Until now, however, his influence has been less obvious than it might be, becaus his work is scattered in so many places. The debut of his own Web site concentrates examples o all of his work in one place, making it easier to see both the forest and the trees. It's also a welldesigned site with a lot of useful information. Related Reading Creative Essentials Type for Everyday Use Unger's best-known typefaces are probably Swift (1985), Amerigo (1986), and Flora (1984). H newspaper face Gulliver (1993) is familiar to millions of readers, as it's the typeface used in bot "USA Today" and several European newspapers; but newspaper readers seldom know the nam of the typeface they're reading, and Gulliver is not generally available except to large publishin houses. If you live in the Netherlands, you probably see Unger's letters almost every day; he ha designed typefaces for the signage systems of both the Dutch highways and the Amsterdam...
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...various governments and doing a positive job to deliver message or product to consumers in today’s world. It is really well designed typeface that you can’t miss on anywhere you see it. Basically, it is characterized by its smooth, modern, and well-organized individualities. Akzidenz Grotesk font was designed by H. Berthold in 1896. I never used this font before so I made a little search about it. The first thing that I noticed, it can be called early version of Helvetica and the first sans serif typeface that was commonly used. Also connections between Helvetica and Akzidenz Grotesk are obvious. However, Akzidenz-Grotesk is generally thought to remain more circular, less wide and there are also couple sensitive differences. On Wikipedia website it says “ the uppercase and lowercase C and the uppercase G, J, R and Q. Aside from the subtle differences in these individual letters, Miedinger's primary change to Akzidenz-Grotesk is Helvetica's higher x-height, the distance from the baseline to the height of the lowercase letter x. The general effect is that Helvetica appears more oblong while Akzidenz-Grotesk maintains circular counters and bowls.” As a result, both Helvetica and Akzidenz Grotesk is one of the popular and most convincing typefaces used to date in the world and Helvetica might be the most easily identifiable typeface ever...
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... * Cave Paintings * 105 AD- Paper was invented * The Moveable Type Press * Eliminated the need for hand written reproduction * Graphic Designer – invented by William Addison Dwiggins * Douglass Englebart- Invented the Mouse * 1984- The Macintosh was invented * Graphic Design has increased over the years since technology has come about * The GOALS of Graphic Design: * To create a visual representation of information with a sense of order and clarity to make it easier for the viewer to understand. * A graphic designer must keep up with technology and skills. What makes a design great? * Form * Visually appealing * Colors are in harmony * Well-chosen typefaces * Feeling * Stays on message * Cohesive mood throughout * Evokes the proper emotional response * Function * Serves its purpose * Easy to read and understand * Executable (Print, packaging, etc.) * Form without function is just a pretty sheet of paper –Unknown- Four main categories of graphic design: * Print advertisement * Ads should be: * Simple and Ironic * Representative of the brand * Able to tell a story without words * Business Cards * Clean and elegant * Legible * Informative * Needs to have a call to action * Unique * Logos *...
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...letters quickly. Therefore, get to the point in the first paragraph--the first sentence, if possible. In other words, state what you want up front. Single space your letters and use a serif typeface. Skip a line between paragraphs. Because people read business letters quickly, use shorter sentences and paragraphs than you would in a longer document. Sentences should average fewer than twenty words, and paragraphs should average fewer than seven lines. Space your letter on the page so that it does not crowd the top. However, if possible, keep your letter to one page. Second pages often are not read. Send copies to anyone whose name you mention in the letter or who would be directly affected by the letter. Final paragraphs should tell readers what you want them to do or what you will do for them. Sincerely, Signature Name Enclosure cc: Name to receive copy Sample Letter Format Company Name Company Address Date of Letter Recipient's name Recipient's title Recipient's company Recipient's company address Recipient's Name: People read business letters quickly. Therefore, get to the point in the first paragraph--the first sentence, if possible. In other words, state what you want up front. Single space your letters and use a serif typeface. Skip a line between paragraphs. Because people read business letters quickly, use shorter sentences and paragraphs than you would in a longer document. Sentences should average fewer than twenty...
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...Univers (French pronunciation: [ynivɛʁ], "ünivair") is the name of a realist sans-serif typeface designed by Adrian Frutiger in 1954.[1] Originally conceived and released by Deberny & Peignot in 1957, the type library was acquired in 1972 by Haas. Haas'sche Schriftgiesserei (Haas Type Foundry) was later folded into the D. Stempel AG and Linotype collection in 1985 and 1989 respectively. Contents [hide] 1 Visual Distinctive Characteristics 2 Characteristics 2.1 Univers Cyrillic, Univers Pro Cyrillic (2010) 3 Linotype Univers 3.1 Linotype Univers Typewriter 4 Univers Next (2010) 4.1 Univers Next W1G 5 Univers Next Arabic (2011) 6 The Frutiger numbering system 7 Linotype numbering system 8 Usage 9 In popular culture 10 Comparison with Akzidenz-Grotesk, Folio, and Helvetica 11 References 12 External links [edit] Visual Distinctive Characteristics Characteristics of this typeface are: lower case: square dot over the letter i. double storey a. upper case: dropped horizontal element on A. [edit] Characteristics Univers is one of a group of neo-grotesque sans-serif typefaces, all released in 1957,[2] that includes Folio and Neue Haas Grotesk (later renamed Helvetica). These three faces are sometimes confused with each other, because each is based on the 1898 typeface Akzidenz-Grotesk. These typefaces figure prominently in the Swiss Style of graphic design. Different weights and...
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...setting and arranging type, including the selection of typefaces and arrangement of type in a composition. * Includes typefaces (a full set of type made to a particular design, also known as a font), point size, line length, line-spacing and kerning. * The study of typefaces include the legibility of the typeface, the aesthetics of the typeface, the functionality of typefaces and how a typeface/layout combination enhances content. * The process of typefaces include artistic composition of individual type, the setting and arrangement of type and basic elements of DTP. * Sans Serif – letters made bigger, used in advertising, movies, music, and modern media. * Influential designers include Eric Gill, Erik Spiekermann and Kurt Weidermann. * Combining type and image and computers result in the creation of 1000’s of typefaces. * Typography is defined in relation to print * History of Western printing Johannes Gutenberg * Europe’s first printer (42-line Bible 1455) * First designer of typeface * Gothic type: modelled after German script * Goal: To replicate the look of a manuscript Bible Aldus Manutius * Designed “Italic” type (“of Italy”) in the 1490s * Modelled on handwriting of Venetian clerks * Compact form allowed for printing of smaller books Geofory Tory * 16th Century French Designer * Influenced by architecture and Leonardo da Vinci * Designed his typeface on the proportions of the human body * Importance...
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...invisible With over 100,000 different type faces available right now and over 560 years of type face designing there is a large number of influential and important font designers to research. I was lucky to find the a great guide to typefaces: the “Periodic table of type faces” from , which lists 100 of the most popular, influential and notorious typefaces today. It not only gives the name of the designer and the year when it was first published, but also groups it into families and classes like serif, sans-serif, display, grotesque, didone or geometric, which helps to get a clearer picture. I found that a good start for research and googled many of the mentioned designers. I stopped at Erik Spiekermann (the type”face” behind Audi, Bosch, Sky TV, Nokia, …) Matthew Carter (internet/screen standard fonts Verdana/Tahoma, Georgia), Max Miedinger (Neue Haas Grotesk = Helvetica), Edward Johnston (ITC Johnston, P22 Underground for the London tube), Paul Renner (Futura), Tobias Frere-Jones (Gotham - Obama election campaign 2008, Asphalt Black), Adrian Frutiger (Linotype Didot, Univers, Frutiger, Avenir), Stanley Morison (Times). These are mainly type faces which serve in headlines as well as in the body copy. If chosen for the right reasons (style of typeface fitting style of article, text, ...) the quality of these fonts have a chance to deliver what the Craig Ward poster on top of this text asks typography to do – to be invisible – meaning to fit a purpose so perfect that it seems to...
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...John Baskerville was born in 1706 in Worcestershire, England. As a servant in a clergyman’s house, it was his employer that discovered his penmanship talent and sent him to learn writing. Baskerville was illiterate, but became very interested in calligraphy, and practiced handwriting and inscription that was later echoed in strokes and embellishments in his printed typeface (Yau, 2010). At seventeen, he was engraving tombstones. By the time he was twenty he was teaching, writing, bookkeeping, and running an engraving business as well. At thirty-two, he took up the then popular lacquering process that we all call japanning, this made him a very wealthy man. John Baskerville was forty-four when he took up the business for which he is known today (Lienhard, 1988). In 1750 he setup a printing business, But it took him till 1757 to produce his first book. Cambridge University Press hired him as their printer, here is where he made his masterpiece, the Holy Bible of 1763, and many regarded it, to be the finest book printed in English. After five long years of labor, he produced what might be the most beautiful bible yet made. His other noted works are Paradise Lost and Paradise Regained and Book of Common Prayers (Lienhard, 1988). John Baskerville developed his own method of working, resulting in beautiful bright woven paper and darker inks. He created an intense black ink color through the tedious process of boiling fine linseed oil to a certain thickness, dissolving rosin, and...
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...Response to Questions Name Institution Date Explain how the ‘truth’ of photographic images has always been a contested idea. Cite one example from the ‘pre-digital’ era, and one from contemporary culture to illustrate your argument. The images of the photographic in the pre-digital era were taken as the proof and evidence of reality. However, today this belief might not hold because of the technology that might aid the editing of the photographic to assume content and the background preferred by the user. At the pre-digital era, no such techniques were available and the possibility of an individual faking a photographic image was beyond the imaginations of the people (Joyce, 2012, p. 35). This made people believe that the photographic images were nothing but the truth on the ground. This belief was majorly the reason that the people were made to believe on the existence of fairies. People believe that the two photographic images taken by the two girls, Iris and Alice, were the truth and were evidence of existence of before-then, mythical and tale fairies. Nevertheless, the ambiguous nature of the believed existence of fairies and the fact that it was only the two girls who had the chance to interact and photograph the fairies prompted the questions on the authenticity of the images (Alex, 2014, p. 50). There has been a contest to express and defend the truth of photographic images. In the article, Borderland Borms: Arthur Conan Doyle, Albion Daughters, and the politics...
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