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Introduction to Typography Emily Carr University of Art + Design Instructor: Linda Coe, BDes, FGDC Continuing Studies Typeface Origins, Design, Revivals Glossary O –Q Oblique Old style Core Concepts: Typeface Origins, Design, Revivals Old style figures I contemporary type design is often based directly or indirectly on Optical alignment classical models Optical kerning I good type revivals attempt to capture the character of the originals Ordinal characters Ornament characters I new typefaces are often commissioned for specific purposes Orphan I the most fundamental aspect of type design is the interplay between Outline type letters and their background Pagination Paragraph indent Parallel construction Further Study Parentheses I Type Right Pi fonts http://www.typeright.org/ethicsguide.html Pica I Jim Rimmer Making Faces Point http://www.monoscope.com/2009/03/ Posture jim_rimmer_making_faces_traile.html Proof Proportional spacing I Call It What It Is (John Downer) Proportional type http://www.emigre.com/Editorial.php?sect=2 Punch I Smashing Magazine: 60 Brilliant Corporate Typefaces Punctuation http://www.smashingmagazine.com/2008/03/20/60-brilliant-typefaces- Quoin for-corporate-design/ I Chank: How to Make a Font https://www.chank.com/howto/makeafont/ http://www.youtube.com/watch?v=xhpCNSm7xAM I University of Reading Class of 2009 Type Design http://www.typefacedesign.org/2009/ I Type Design http://www.creativebloq.com/typography/design-your-own-typeface- 8133919 I Nick Shinn: Richler Typeface http://www.randomhouse.ca/richler/#about_thetype Student Notes © 2004 – 2019 Linda Coe Type Design, Origins, Revivals 1 Introduction to Typography Emily Carr University of Art + Design Instructor: Linda Coe, BDes, FGDC Continuing Studies Why Design a New Typeface? More Canadian Typeface Designs There are several reasons new typefaces are created. Sometimes they are I Cartier, 1967 Carl Dair commissioned by a client. For example, in 2002 Random House of Canada I Caxton, 1972 Les Usherwood and the Giller Book Prize, in consultation with the Richler family commissioned Nick Shinn to design a new typeface to commemorate the I Flange, 1981 Les Usherwood life and work of writer Mordecai Richler. While several typefaces have I Usherwood, 1984 Les Usherwood been named after famous writers, this is the first time a Canadian cultural I Mambo, 1990 Val Fullard institution has so honored a Canadian designer with such a commission.) I Fontesque, 1993 I Smart Sans, 1998, Rod McDonald I Richler, 2001 Nick Shinn I Laurentian, 2001 , Rod McDonald I Albertan, 2005, Jim Rimmer I Slate, 2006, Rod McDonald I Cotillion, 2006, Jim Rimmer I Amethyst, 2006, Jim Rimmer I Lapis, 2006, Jim Rimmer I Dokument, 2006, Jim Rimmer Source http://www.randomhouse.ca/richler/#about_ thetype.htm Student Notes © 2004 – 2019 Linda Coe Type Design, Origins, Revivals 2 Introduction to Typography Emily Carr University of Art + Design Instructor: Linda Coe, BDes, FGDC Continuing Studies Sometimes there is a need to design a new face to suit a particular publi- More About Jim Rimmer and the cation or journal due to space constraints. Times Roman was commissioned Pie Tree Press www.typeclub.com/2008/03/15/jim- by the London Times newspaper in 1932. Supervised by Stanley Morison, rimmer-and-the-pie-tree/ who provided the original Plantin type specimens used to draw the face, http://www.flurryjournal.com/2009/05/ designer Victor Lardent created the space-saving letterforms. 30/about-jim-rimmer/ New typefaces are also created to enhance a new edition of a classic book. Movie Trailer: Making Faces In 1929, the Limited Edition Club commissioned Frederick W. Goudy to http://www.monoscope.com/2009/03/ jim_rimmer_making_faces_trailer.html engrave a special face for their publication of the Washington Irving classic story, Rip Van Winkle (Kaatskill). Local type designer and illustrator, Jim Rimmer (1934 – 2010) designed several new faces to bring life to his own limited editions of Charles Dickens’ A Christmas Carol and The Adventures of Tom Sawyer (Hannibal Oldstyle). He compiled his type, design and illustration memoirs in a volume entitled Leaves From the Pie Tree. The increased focus on advertising through the last few centuries has resulted in an extraordinary diversity in new display faces. To be successful, the new typeface must be distinctive as well as versatile— one that stands out from the crowd. A typeface that can be used on a variety of published material. Ask yourself, “Why would someone want this face?” There are many revivals of classic faces—the human foibles of new cuts, sloppy inking and the like added charm to many of the faces we know today. When redrawn, digitized and mechanically “perfected” these faces often lose their personality and handcrafted appeal. Some revivals are more correctly termed reinterpretations as the designs may differ a little bit or a great deal. Frequently, type designers create new members of a typeface family. For example designing an italic version where one did not exist previously. The minimum number of characters a typographer creates is about 250, these include: upper and lower cases, numbers, accents, some ligatures, symbols and punctuation are all carefully drawn by hand before being digitized. Source http://www.heavenlymonkey.com/Rimmer.htm Student Notes © 2004 – 2019 Linda Coe Type Design, Origins, Revivals 3 Introduction to Typography Emily Carr University of Art + Design Instructor: Linda Coe, BDes, FGDC Continuing Studies Optical, Not Mechanical Components Digitizing a new typeface design is more complex than you may think. There are many characteristics of the Latin alphabet that defy math- EH Vertical Strokes Determine Height ematics— relying on optical solutions To appear the same height, vertical strokes are drawn a bit taller than to perfect the shapes and their letter forms relying on the horizontal stroke to determine their height. relationship to each other. Study each sample carefully. EFTHorizontal Strokes Thinner Than Vertical Strokes Horizontal strokes appear too thick unless they are drawn thinner than vertical strokes. BMN Open Up Tight Junctions Letter forms with tight junctions need to be opened up or they appear too thick at the joins. Compact letters with closed counters are drawn a bit smaller than those with open counters. KN Balance Needed in Forms with Vertical and Diagonal Strokes Letter forms combining diagonal and vertical strokes taper the diagonals a bit so the overlap is more pleasing, less bulky. EAVO Points and Curves Align Differently Letter forms with curves or points have to extend slightly above and below the normal baseline or they appear too short. SOQ Curved Forms Thicker at Midsection Letter forms that have curves are thicker at the centre to present an even appearance. BEHKSX38 Two Storied Not Divided Equally The split in two storied forms is above centre, otherwise they appear top heavy. Student Notes © 2004 – 2019 Linda Coe Type Design, Origins, Revivals 4 Introduction to Typography Emily Carr University of Art + Design Instructor: Linda Coe, BDes, FGDC Continuing Studies Balancing Unity and Creativity Typeface design is like walking a tight rope: maintaining perfect balance ensures you cross the rope safely. Teetering too far left or right, like combining too many extreme features in one font, may create a perilously imbalanced situation. The examples below, set in Times Roman, demonstrate those parts of the letters that are common within one typeface design. Letterforms With Common Diagonal Strokes These capitals share diagonal strokes. More design harmony is shown in these forms. Letterforms With Common Vertical Strokes These capitals share common vertical strokes. Note that capitals E and F also share cross bars and serifs. Harmony may occur in partial stroke. Student Notes © 2004 – 2019 Linda Coe Type Design, Origins, Revivals 5 Introduction to Typography Emily Carr University of Art + Design Instructor: Linda Coe, BDes, FGDC Continuing Studies Letterforms With Common Curved Strokes Curved capital letters with shared curved strokes. Lowercase letters also share common strokes. Common structure creates harmony of form. Common curves and partial vertical strokes/serifs. Student Notes © 2004 – 2019 Linda Coe Type Design, Origins, Revivals 6 Introduction to Typography Emily Carr University of Art + Design Instructor: Linda Coe, BDes, FGDC Continuing Studies Frutiger, Adrian. Signs and Symbols: Their Design and Meaning. ISBN 0-8230-4826-8 Student Notes © 2004 – 2019 Linda Coe Type Design, Origins, Revivals 7 Introduction to Typography Emily Carr University of Art + Design Instructor: Linda Coe, BDes, FGDC Continuing Studies Type Design Guidelines The making of letters gives 1. Begin with a strong, well-prepared concept (the personality of the me the purest and greatest typeface) and follow it throughout the design. pleasure …To me it has been 2. Have a clear idea of what your typeface is intended for—text, display— the happiest and most casual or formal. perfect expression of my life. 3. Create a few characters first. Draw a test word or two. Make sure to — Rudolf Koch include a variety of characters which offer the basic styling for the remaining letterforms. 4. Fine tune the letterforms, paying particular attention to x-height and weight. Lay out a test word or two and test it in a variety of sizes. Review them for consistent width, stroke thickness and overall colour. 5. Do the same for the upper and lower case letters, figures and sorts. Font Design Software Distributors 6. Create a test document that shows all lowercase combinations, www.fontlab.com/ important cap-to-lowercase combinations and a text block. Font software Comparison www.fontlab.com/fontlab- 7. Adjust the actual characters and their side bearings to create the products/compare/ optimum colour and spacing. http://www.typophile.com/node/50819 8. Do not kern the typeface until you have done all of the above. (More www.high-logic.com/fontcreator.html kerning pairs does not necessarily mean a better looking face if the original face is poor.) 9. Put the project aside for a day or two when you are no longer able to view it objectively.

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