Posts tagged ‘fonts’
I like the transparency of this design because it’s interesting and captivating but doesn’t look muddled or pointless. The color scheme is also very nice and soothing.
I stumbled upon an article on Eye Magazine.com that talks about Monotype’s typographical adviser, Stanley Morison, who published an article about newspaper design (that I didn’t get to fully read yet).
The quote next to this picture states “This cover photograph, probably conceived by Beatrice Warde, is the likely cause of the misconception that there was a typeface called ‘Times Old Roman’ prior to October 1932. Before that year’s redesign The Times had used a version of Monotype Modern, which was adapted from a typeface created by the Edinburgh foundry Miller & Richards.”
I think it’s just a cool looking poster and comes up with the idea of an ‘Times Old Roman’, even thought it never existed, yet you can clearly see the difference between the two typefaces.
Here’s another cool poster I found breaking down letters, this one is by Jan Tschichold. Just like the Baskerville poster I found a while back, I think this one excellently represents how letters are formed from basic circles and lines. I’m not sure what typeface this is but I would assume it’s an old style serif because it’s very classical-looking, is obviously a serif, and there is not significant contrast in the thickness and thinness of the letterforms.
Reform & Revolution
- Some designers thought distortion of the alphabet was gross and warned against it
- Avant-garde designers rejected the quest for essential letters grounded in the human hand and body
- At the Bauhaus, letters were constructed from basic geometric forms – squares, circles, triangles
Type as Program
- Wim Crouwel created designs for a new alphabet purely from straight lines… these letters were designed for optimal display on a video screen.
- In the mid-1980s computers and low-res printers made typography more accessible to the public
- PostScript and high-res printers in the 1990s created less contraints for type designers.
Type as Narrative
- Designers became unsatisfied with clean, unsullied surfaces and wanted to make letters more harsh and disorderly
- Template Gothic is designed based on letters drawn with a plastic stencil
- Dead History combines Centennial and VAG Rounded – manipulated the vectors of readymade fonts (strategy often used in contemporary art and music)]
- Beowulf was the first typeface to have random outlines and programmed behaviors
This is another really attractive modular type system I stumbled upon. Obviously the colors are what attracted me first – they are very harmonious and calming – the words aren’t jumping out at you! One thing I noticed is right at the top, the N and U essentially mirror each other, but the artist used different colors, which helps to differentiate between the two. I enjoy that not all parts of these letters are strictly the same (the stroke weight of the T is larger than the U right next to it). This variation makes the typeface very interesting and fun to look at. I also enjoy the use of square and circular shapes, not just one or the other. The texture within these letters are also very intriguing and captivating – resembles wood or marble.
This is a modular typeface that I stumbled across while doing research for our next Typography project. I think this one caught my attention because the bright blue obviously jumps out at you, but the type fits a grid but is not so strict. The slight curves in certain letters (v, a, b) create dynamism but overall are unified as an alphabet. The negative space in these letters also helps to create the individual letterforms – if they were all filled in it would not be as interesting. Also, what I think makes this attractive is that certain letterforms are missing that we are used to – such as the middle leg in the lowercase ‘m’, the bar in the ‘f’, etc. It is still legible, but is a variation on our typical alphabet, which makes it very unique.
I really love this design because it’s reminiscent of a Newspaper yet also has strong Typographical Elements in it with the huge letterforms that take up the design. I would assume this might be information about the typeface because the large letters spell out ‘Times Roman’, and therefore I assume that that’s the font being used. It has a very clean, and professional look to it since the smaller type fill in the letterforms and negative space. It’s very broken up but your eye and brain put it together so it’s very dynamic and interesting. There is clear hierarchy with the type and it’s black and white simplicity adds to the news-like feel.
I think this image is a really awesome example of Typography, and using different typefaces throughout. The word ‘Beirut’ is in about 3 different typefaces (from what I can tell) and that makes it very interesting and dynamic. Also, the more formal type at the bottom kind of balances the more rigid and bold type on the top. I also like the use of complementary colors with black and gray. It’s very simple yet intersting.
This is a really cool poster I found online of different ampersands, all at the same point size. What’s interesting to me is that very few of them actually look like an ‘e’ & ‘t’ combined. I’m curious to know how our modern recognization of ampersands became so abstract, or differentiated from what it originally is supposed to portray. What’s also interesting is that the fancier typefaces’ ampersands look more like an ‘e’ & ‘t’ combined than the more casual or playful typefaces. Most of these I can’t even tell that there are supposed to be two letterforms in the design, so I wonder what made that happen? Overall, it’s still a very cool symbol and interesting to look at and try to dissect.
1. Old Style/ Humanist
- developed 15th/16th centyry
- Low contrast in stroke weight and angled serifs
- Emulated classical caligraphy
- *Examples – Garamond, Sabon, Jenson, Goudy, Palatino
- High contrast in thick and things
- More vertical axis and sharper serifs than Humanist
- More abstract & less organic
- *Examples – Baskerville, Times New Roman, Bookman, Century, Utopia
3. Modern ( or Didone)
- Late 18th/early 19th century
- High contrast of stoke, straight serifs, totally vertical axis
- More abstract & less organic
- *Examples – Bodoni, Didot, Walbum
4. Slab-Serif (Egyptian)
- Heavy serifs & used for decorative purposes and headlines
- The heavy serifs impeded legibility at small point sizes
- *Examples – Clarendon, Serifia, Rockwell
5. Sans Serif (traditional sans)
- More upright axis & a uniform stroke
- *Examples – Helvetica, Univers, Franklin Gothic, Akzidenz, Grotesque
- based on geometric forms
- *Examples – Futura, Neutraface, Avant Garde, Gotham
– Humanist Sans
- Modeled on old style typefaces, open strokes, and slightly higher contrast
- *Examples – Meta, Myriad, Frutiger, Auto, Gill Sans