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Editor/Designer: Claire Underwood The Tactile Typographer
Created For: Art 354 - Graphic Design 1 a condensed biography © 2014 Claire Underwood & a type specimen t Table of Contents
Page 6 . The Tactile Typographer
Page 11 . Bibliography & Photo Credit
Page 12 . About Adobe Caslon Pro t Page 13 . Daft Zebras Page 14 . The Family
Page 15 . Lovely Ligatures
Page 16 . A Few Type Anatomy Terms t tPage 18 . Typeface Credits some time, and it was then when she opened Moonsail Design. In 2005, she moved to Byron Bay, Aust. and started lecturing at qca. Falla founded a group of designers in 2010 and artists Imagine Helvetica... with its strongt who collaborate on group exhibitions based on marks, intrinsic clarity, and simple neutrality, it a common theme, called “We Heart” Collective. lends itself to most anything. Now, imagine that Her most recent role was organizing a typog- for everything you create, you use Helvetica. raphy conference, typism, held on the Gold Anytime you sit down to your computer or Coast. Other achievements include teaching de- open your sketchbook, you use Helvetica. That’s sign at Monash University, lecturing at Central what Dominique Falla did. She used Helvetica Queensland University, contributing to the Flat exclusively for an entire year. White Spaces project, and being the Creative Director at D’signart Creations. ominique Falla is a graphic designer Falla is currently working on her doctorate living in New South Wales, Australia. studies on the subject of tactile typography. Part Her favorite things are the freedom to of her research explores why people respond so Dcreate your own reality, her husband, and “any- positively to type that you can touch, play with, thing shiny with an Apple logo on it.” Currently, sit on, etc. yet completely ignore a piece of ty- she is the convener of the Graphic Design pro- pography, such as a road sign. “At what point gram at Queensland College of Art at Griffith does the typography stop communicating lan- University, as well as the creative director of her guage and start becoming art?” own graphic design studio, Moonsail Design. Falla studied graphic design at Swinburne alla is widely known as the “Tactile (Melbourne, Australia) in the early 1990s, and Typographer,” making pieces of typogra- after graduating, she became illustrating for phy out of craft materials. With unusual children’s books and creating editorial illus- mediums, she strives to unify words and im- trations. She returned to graphic design after F ages together in ways people can feel, not just
THE TACTILE TYPOGRAPHER 6 7 A CONDENSED BIOGRAPHY read or look at. Falla explains that after twenty would work within their existing branding and years using computers for her work, she craves a therefore was exempt from using Helvetica. return to the physical craft of typography. As an However, Falla decided that “every other piece only child, she used to entertain herself learning of written communication designed for [person- new skills, and now incorporates them with her al] purposes would be set only in the dreaded, typography skills to create beautiful, visual art. boring, and ubiquitous Helvetica.” Friends and “By lifting typography from the computer co-workers, all fellow graphic designers, bare- screen or printed page, I find the letterforms ly believed her bold declaration, and questioned are given new life, as are the words themselves, her ability to be creative, expressive, and keep and people respond in such a positive way to up with it for an entire year. Putting herself in the haptic nature of the pieces,” Falla tells Jenica their shoes, she says she understood their re- Smith, founder of Design Montage. “They are sponses, but she was drawn to touch them and re-examine the letter- excited to not have to forms … I get such pleasure from their reac- participate in discus- tions,” says Falla. sions about what type- face to use, what was ecember 2010 marked the beginning cool and what was not, of her year with Helvetica. Falla had etc. Looking back on just seen Gary Hustwit’s documentary the year, she admits DHelvetica, and was inspired by designer Michael to straying a couple of C. Place’s self-initiated challenge to “make times, to Museo (for something beautiful out of something ordinary.” its subtle curves) and According to her statement from her Goodbye Bebas (for its sleek Helvetica exhibit, Falla describes her decision as and skinny design). “one of the best ‘foolish’ decisions [she has] ever “Helvetica and I made made.” She gave herself a little room to breathe some beautiful visu- sanded paint on concrete wall by adding a reasonable caveat: with clients, she al music together.”
THE TACTILE TYPOGRAPHER 8 9 A CONDENSED BIOGRAPHY The show, called Goodbye Helvetica, opened Bibliography Valentine’s Day, 2012; it was a cathartic end to a productive, yearlong relationship. The exhibit in- Clarke, Jamie. “Interview with the Tactile Ty cluded a number of installations, all in Helvetica pographer.” Type Worship. 8 Faces, 2 4 2012. (save for one word: museo, set in Museo). Web. 21 Feb. 2014.
THE TACTILE TYPOGRAPHER 10 11 A CONDENSED BIOGRAPHY Adobe Regular Caslon How Italic
Pro quickly Semibold William Caslon released his first typefaces in 1722. Caslon’s types were based on seven- teenth-century Dutch old style designs, which daft Semibold were then used extensively in England. Because of their remarkable practicality, Caslon’s designs met with instant success. Caslon’s types became popular throughout Europe and the American colonies; printer Benjamin Franklin hardly used jumping Italic any other typeface. The first printings of the American Declaration of Independence and the Constitution were set in Caslon. For her Caslon revival, designer Carol Twombly studied zebras Bold specimen pages printed by William Caslon between 1734 and 1770. The OpenType “Pro” version merges formerly separate fonts (expert, swash, small caps, etc.), and adds both central European language support and several addi- vex Bold Italic tional ligatures. Ideally suited for text in sizes ranging from 6- to 14-point, Adobe Caslon Pro is the right choice for magazines, journals, book publishing, and corporate communications. title, 39 & 46 pt ttext from store1.adobe.com weights, 36 pt Ligatures occur when two or more letters are combined into one glyph. regular, 73 pt 0123456789 0123456789 0123456789 0123456789 0123456789 0123456789 0123456789 0123456789 afterf abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz caffeineff ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ refinefi Bold Italic Regular Semibold
Bold Italic Bold stiflefl Semibold Italic Semibold
ADOBE CASLON PRO 14 15 fjfjordA TYPE SPECIMEN A bowl is the shape created with a round ¡! ¿? & @ * stroke and are present in the letterforms b d o p q D O P Q R; $ € ¥ £ % and B has two bowls. ct st æ œ
¼ ½ ¾ The apex of the pt can have such character (in this case, class). ƒ ℓ q above, 50 pt right, 200 pt More complete typefaces will include special characters like the ones shown above. These come in handy when trying to set type for A counter refers to the something more complicated than just plain negative space created text. According to help.adobe.com, special by both straight and curved strokes. Closed counters are characters in a font may include ligatures, found in the letterforms fractions, swashes, ornaments, ordinals, titling a b d e g o p q A B D O P Q R, and stylistic alternates, superior and inferior tand open counters in characters, old‑style figures, and lining figures. a c e f h m n r s t u.
ADOBE CASLON PRO 16 17 A TYPE SPECIMEN t body set in Adobe Caslon Pro
regular (12 point, 14 leading) captions set in small caps (10/12) other featured sizes specified t taken from glyph set
Typeface Inspired by William Caslon Designed by Carol Twombly t