Skip to content

I am a Girl

What a strong and powerful use of type.
I am thinking that this font is Impact, but I’m not positive.
Either way, it’s making an Impact. (Pun intended.)

18 Oct 2012

Wayne State

A picture right outside my home away from home (Old Main).
The Warrior ‘W’ is an interesting piece of type…

18 Oct 2012

Project 2, Part 4: Design

Basic – 1

Basic – 2

Classic – 1

Classic – 2

Classic – 3

4 Oct 2012

Notes on Page 46

  • Humanist letterforms are connected to calligraphy and also the movement of the hand.
  • Transitional and modern letterforms are more abstract and not remotely organic.
  • All three main groups roughly correlate to the Renaissance, Baroque, and Enlightenment periods in literature and art. 
Humanist or Old Style – example, Sabon. Sabon was designed in 1966 by Jan Tschichold.
Transitional – example, Baskerville. Created by John Baskerville in the eighteenth century.
Modern – example, Bodoni. Bodoni was designed in the late eighteenth/early nineteenth century by Giambattista Bodoni.
Egyptian or Slab Serif – example, Clarendon. Introduced in the nineteenth century for use in advertising.
Humanist Sans Serif – example, Gill Sans. Designed by Eric Gill in 1928.
Transitional Sans Serif – example, Helvetica. Helvetica was designed in 1957 by Max Miedinger.
Geometric Sans Serif – example, Futura. Paul Renner designed Futura in 1927.
4 Oct 2012

Kurt Schwitters – Presentation

Kurt Schwitters

  • Graphic Design
  • Installation Art
  • Typography
  • Most famous for his collages
  • Font called “Architype Schwitters” created based on a 1927 Phonetic alphabet by Schwitters
  • Das Unbild – one of his most famous collages
  • Anna Blume cover of a Dadaist non-sensical love poem written by Schwitters himself
  • Merzbau – Installation art first started at his Hannover studio in 1923 which altered the interior
  • First room finished in 1933
  • Later extended to other areas of the house until he fled in 1937
  • Installation piece was destroyed in 1943 due to a bombing raid
25 Sep 2012

Notes on Kurt Schwitters

  • 1887-1948
  • Born June 20, 1887
  • Generally acknowledged as the Twentieth Century’s greatest master of collage
  • Winter of 1918/19 began to make collages
  • Influenced by the work of Hans Arp
  • MERZ – from one of his first collages
  • MERZ became type of a brand name from 1922 began to refer to himself as Kurt Merz Schwitters or Merz
  • 1919 he was approached by Tristan Tzara of the Zurich Dadaists and the group greeted his work with enthusiasm
  • Merz was stimulated by the Berlin Dadaists whose activities were making headlines
24 Sep 2012

Pages 23 to 27 Notes

  • Bodoni and Didot helped create a dehumanized approach to the design of letters
  • The rise of industrialization and mass consumption in the nineteenth century also created an explosion of advertising
  • Designers created big, bold faces
  • Embellished and engorged ‘body parts’ of classical letters
  • Fonts with more height, width, and depth emerged – expanding, contracting, shadowing, fatter, faceting
  • Serifs became independent architectural structures – abandoned their role as finishing details
  • In the 19th Century type designers created big, bold faces by embellishing and swelling the parts of classical letters
  • A pantograph is a tracing device that allows a parent drawing to create new variants with different proportions, weights, and decorative additions when linked to a router
  • Edward Johnson and other designers felt that the distortion of the alphabet was wrong
  • Johnston looked back at the Renaissance and Middle Ages for ‘uncorrupted’ letterforms
  • Some of the De Stijl members in the Netherlands tried to simplify the alphabet to perpendicular elements
  • Herbert Bayer and Josef Albers of the Bauhaus constructed letters from circles, squares, and triangles
  • Futura was created by Paul Renner in 1927
  • Renner designed Futura in different weights
24 Sep 2012

Pages 12 through 21 Notes

  • Typefaces are an essential resource
  • Words originated as gestures of the body 
  • Calligraphy was an inspiration for the first typefaces
  • Johannes Gutenberg invented movable type in Germany in the early 15th Century
  • Nicolas Jenson created typefaces which are considered to be the first and best roman typefaces
  • Garamond, Bembo, Palatino and Jenson are named after the printers who worked in the 15th and 16th Centuries
  • Geofroy Tory created and published a series of diagrams that linked the anatomy of letters to the anatomy of man in 1529
  • In the 19th Century type designers created big, bold faces by embellishing and swelling the parts of classical letters
13 Sep 2012

The 4 g’s

Type Feature Identification

  • Typeface #1 has serifs and rounded edges
  • Typeface #1 is curvy
  • In Typeface #1 the bottom of the ‘g’ is connected
  • Typeface #2 has serifs
  • Typeface #2 is curvy
  • Typeface #2 is curvier than Typeface #1
  • In Typeface #2 the bottom of ‘g’ is not connected
  • Typeface #3 is sans serif
  • Typeface #3 does not look as ‘squished’ as #4
  • Typeface #4 seems bold
  • Typeface #4 appears harder than #3
  • Typeface #3 seems lighter than #4

Guesses of Font:

Typeface #1: Times New Roman
Typeface #2:  Baskerville
Typeface #3: Helvetica
Typeface #4:  Arial

4 Sep 2012