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Typographic Design: Form and Communication
Typographic Design: Form and Communication Fifth Edition Saint Barbara. Polychromed walnut sculpture, fifteenth- century German or French. The Virginia Museum of Fine Arts. Typographic Design: Form and Communication Fifth Edition Rob Carter Ben Day Philip Meggs JOHN WILEY & SONS, INC. This book is printed on acid-free paper. Copyright © 2012 by John Wiley & Sons, Inc. All rights reserved. Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750- 8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or on-line at www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. -
The Impact of the Historical Development of Typography on Modern Classification of Typefaces
M. Tomiša et al. Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama ISSN 1330-3651 (Print), ISSN 1848-6339 (Online) UDC/UDK 655.26:003.2 THE IMPACT OF THE HISTORICAL DEVELOPMENT OF TYPOGRAPHY ON MODERN CLASSIFICATION OF TYPEFACES Mario Tomiša, Damir Vusić, Marin Milković Original scientific paper One of the definitions of typography is that it is the art of arranging typefaces for a specific project and their arrangement in order to achieve a more effective communication. In order to choose the appropriate typeface, the user should be well-acquainted with visual or geometric features of typography, typographic rules and the historical development of typography. Additionally, every user is further assisted by a good quality and simple typeface classification. There are many different classifications of typefaces based on historical or visual criteria, as well as their combination. During the last thirty years, computers and digital technology have enabled brand new creative freedoms. As a result, there are thousands of fonts and dozens of applications for digitally creating typefaces. This paper suggests an innovative, simpler classification, which should correspond to the contemporary development of typography, the production of a vast number of new typefaces and the needs of today's users. Keywords: character, font, graphic design, historical development of typography, typeface, typeface classification, typography Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama Izvorni znanstveni članak Jedna je od definicija tipografije da je ona umjetnost odabira odgovarajućeg pisma za određeni projekt i njegova organizacija s ciljem ostvarenja što učinkovitije komunikacije. Da bi korisnik mogao odabrati pravo pismo za svoje potrebe treba prije svega dobro poznavati optičke ili geometrijske značajke tipografije, tipografska pravila i povijesni razvoj tipografije. -
Fonturi Sans Serif Sau Fonturi Cu Serife?
Fonturi sans serif sau fonturi cu serife? Disputa serif versus sans serif este una epică. Ca și în cazurile Mac vs. PC, Adidas vs. Nike, Cola vs. Pepsi, etc. există argumente pro și contra, diferențe de gusturi și opinii, dar niciuna dintre părți nu deține adevărul absolut. Aflați în cele ce urmează mai multe despre cele două tipuri de fonturi și câteva sfaturi de folosire a lor. Fonturile cu serife Fonturile cu serife își au originea în alfabetul roman inventat în timpul Imperiului Roman, exemplul clasic fiind majusculele de pe coloana lui Traian (113 e.n.), deși primele inscripții cu caractere cu serife provin din Grecia antică (secolele IV-II î.e.n.). Originea lor nu este stabilită clar: Edward Catich, în studiul său, “The Origin of the Serif”, consideră că serifele sunt o rămășiță a procesului de pictare a literelor pe piatră înainte de sculptarea efectivă cu dalta. Originea cuvântului în sine nu este clară, cele mai credibile explicații fiind cea din Dictionarul Oxford de Limba Engleză potrivit căruia cuvântul s-a format dupa apariția lui “sanserif”, citat în Dictionarul Oxford în 1841 și cea oferită de un al doilea dictionar, Webster’s Third New International Dictionary, care leagă noțiunea de cuvântul “schreef” care în olandeză înseamnă “linie” sau “semn de peniță”. Clasificarea pe scurt a fonturilor cu serife (old style, transitional, modern, latin serif și slab serif) o puteți reciti în articolul “Type, typeface și tipuri de fonturi” (http://typography.ro/2008/11/23/type-typeface-si-tipuri-de-fonturi/), dar o voi relua și în cele ce urmează mai detaliat: Old Style: apărute în secolele al XV-lea și al XVI-lea în timpul Renașterii, au avut drept inspirație inițialele romane și minuscula carolingiană, motiv pentru care se mai numesc și “anticve” sau “antique”, termen folosit de altfel pentru toate fonturile create după epoca “Blackletter”. -
The Evolution of the Printed Bengali Character
The Evolution of the Printed Bengali Character from 1778 to 1978 by Fiona Georgina Elisabeth Ross School of Oriental and African Studies University of London Thesis presented for the degree of Doctor of Philosophy 1988 ProQuest Number: 10731406 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest 10731406 Published by ProQuest LLC (2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 20618054 2 The Evolution of the Printed Bengali Character from 1778 to 1978 Abstract The thesis traces the evolution of the printed image of the Bengali script from its inception in movable metal type to its current status in digital photocomposition. It is concerned with identifying the factors that influenced the shaping of the Bengali character by examining the most significant Bengali type designs in their historical context, and by analyzing the composing techniques employed during the past two centuries for printing the script. Introduction: The thesis is divided into three parts according to the different methods of type manufacture and composition: 1. The Development of Movable Metal Types for the Bengali Script Particular emphasis is placed on the early founts which lay the foundations of Bengali typography. -
Historical Technological Impacts on the Visual Representation of Language with Reference to South Asian Typeforms
Historical technological impacts on the visual representation of language with reference to South Asian typeforms Article Accepted Version Ross, F. (2018) Historical technological impacts on the visual representation of language with reference to South Asian typeforms. Philological Encounters, 3 (4). ISSN 2451-9189 doi: https://doi.org/10.1163/24519197-12340054 Available at http://centaur.reading.ac.uk/66725/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1163/24519197-12340054 Publisher: Brill All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Fiona Ross Historical technological impacts on the visual representation of language with reference to South-Asian typeforms. The scripts of South Asia, which mainly derive from the Brahmi script, afford a visible voice to the numerous linguistic communities that form over one fifth of the world’s population. However, the transition of these visually diverse scripts from chirographic to typographic form has been determined by historical processes that were rarely conducive to accurately rendering non-Latin scripts. This essay provides a critical evaluation of the historical technological impacts on typographic textual composition in South-Asian languages. It draws on resources from relevant archival collections to consider within a historical context the technological constraints that have been crucial in determining the textural appearance of South-Asian typography. -
WILLIAM THOROWGOOD Birthdate Unknown -1820
Fat typefaces were said to have changed the entire poster industry. ” WILLIAM THOROWGOOD Birthdate Unknown -1820. By: Lauren Kosiara IN 1794, ROBE R T THO R NE HAD PU R CHASED THE typefaces and sans serif typefaces. These fat titling and flower fonts. Thorowgood is also FOUND R Y of Thomas Cottrell, a former employee typefaces were said to have changed the entire credited for coining the term “grotesque.” of William Caslo. It had originally been founded poster industry for the time period. Thorowgood The name came from the Italian word in 1757 when Cottrell and Joseph Jackson were was also the first person to invent a sans-serif ‘grottesco’, meaning “belonging to the cave.” In fired in a wage dispute. Upon Thorne’s death in typeface using lowercase letters. Germany, the name became Grotesk. German 1820 the foundry was purchased at auction by Thorowgood went on to issue new typefounders adopted the term from the William Thorowgood using money he had won specimens and added more typefaces nomenclature of Fann Street Foundry, which in a lottery. including Frakturs, Greeks, and Russian took on the meaning of cave (or grotto) art. Though he was never involved in the type types which he obtained from the Breitkopf Nevertheless, some explained the term was founding business before this, Thorowgood and Härtel foundry of Leipzig, Germany. In derived from the surprising response from the made the foundry initially successful by 1828, he also purchased the Edmund Fry typographers. Robert Besley became a partner publicizing Thorne’s typefaces. Many of the foundry which had a large collection of foreign in the Fann Street Foundry in 1828, and upon types identified as Thorowgood’s are actually language types as well. -
Calligraphic Tendencies in the Development of Sanserif Types in the Twentieth Century
Keith Tam 62 Calligraphic tendencies in the development of sanserif types in the twentieth century Abstract Dissertation submitted in Sanserif typefaces are often perceived as something inextricably linked partial fulfillment of the to ideals of Swiss modernism. They are also often thought of as some- requirements for the thing as far as one can get from calligraphic writing. Yet, throughout Master of Arts in Typeface Design, University of the twentieth century and especially in the past decade or so, the design Reading, 2002 of sanserif typefaces have been consistently inspired by calligraphic writing. This dissertation hence explores the relationship between calli- graphic writing and the formal developments of sanserif typefaces in the twentieth century. Although type design is an inherently different dis- cipline from writing, conventions of calligraphic writing did and still do impose certain important characteristics on the design of typefaces that modern readers expect. This paper traces and analyzes the formal devel- opments of sanserif typefaces through the use of written forms. It gives a historical account of the development of sanserif typefaces by charting six distinct phases of sanserif designs that were in some ways informed by calligraphic writing: • Humanist sanserifs: Britain 1900s • Geometric sanserifs: 1920s–30s • Contrast sanserifs: 1920s–50s • Sanserif as a book type: 1960s–80s • Neo-humanist sanserifs: 1990s Three primary ways to create calligraphic writing, namely the broadnib pen, flexible pointed pen and monoline pen are studied and linages drawn to how designers imitate or subvert the conventions of these tools. These studies are put into historical perspective and links made to the contexts of use. -
Americana Ancient Roman Antique Extended No. 53 Artcraft Italic
Serif There are three principal features of the roman face Americana Century Schoolbook Craw Clarendon MacFarland Van Dijck which were gradually modified in the three centuries Ancient Roman Century Schoolbook Italic Craw Clarendon Condensed MacFarland Condensed Van Dijck Italic from Jenson to Bodoni. In the earliest romans, the serifs were inclined and bracketed, that is to say, the Antique Extended No. 53 Cheltenham Craw Modern MacFarland Italic underpart of the serif was connected to the stem in a curve or by a triangular piece. On the upper case Artcraft Italic Cheltenham Bold Deepdene Italic Nubian the serifs were often thick slabs extending to both Baskerville Cheltenham Bold Condensed Eden Palatino Italic sides of the uprights. In the typical modern face serifs are thin, flat and unbracketed. In between the two Baskerville Italic Cheltenham Bold Extra Encore Palatino Semi-Bold extremes various gradations are found. In all early Condensed romans the incidence of colour or stress is diagonal, Bauer Bodoni Bold Engravers Roman Paramount Cheltenham Bold Italic while in the modern face it is vertical. If an O is Bembo Engravers Roman Bold Pencraft Oldstyle drawn with a broad-nibbed pen held at an angle to Cheltenham Bold Outline the paper, the two thickest parts of the letter will be Bembo ITalic Engravers Roman Shaded Rivoli Italic diagonally opposite. This was the manner in which Cheltenham Italic Bernhard Modern Roman Garamond Stymie Black the calligraphers of the fifteenth century drew an O; Clarendon Medium but by the year 1700 the writing masters, whose work Bernhard Modern Roman Italic Garamond Bold Stymie Bold was being reproduced in copper-engraved plates, had Cloister Oldstyle adopted the method of holding the pen at right angles Bodoni Garamond Bold Italic Stymie Bold Condensed to the paper, thus producing a vertical stress. -
Decree 426 BC
Development of alphabetic letterforms 800 B.C.–Present Decree 426 B.C. detail Trajan’s Column 114 A.D. page from the Ramsey Psalter 974–986 A.D. book pages 1200’s A.D. pages from the Gutenberg Bible 1450–55 A.D. Gutenberg Press Replica pages from the Gutenberg Bible 1450–55 A.D. Hypernotomachia Poliphili 1499 Aldus Manutius De humani corporis fabrica 1543 Andreas Vesalius The Intelligencer London 1664 The Crying Mother Newsbook 1664 Romain du Roi 1695 Louis Simonneau 1654–1727 Romain du Roi 1695 Louis Simonneau 1654–1727 Romain du Roi 1695 Louis Simonneau 1654–1727 Specimen Page, 1768 Pierre Simon Fournier le Jeune 1712–1768 Mode of Music Title Page, 1756 Pierre Simon Fournier le Jeune 1712–1768 Rococo 1720–1770 The Holy Spirit 1750 Corrado Giaquinto 1703–1765 Madame de Pompadour 1759 Francois Boucher 1703–1770 The Swing 1766 Jean-Honore Fragonard 1732–1806 The Ballroom of the Catherine Palace in Tsarskoye Selo The Wies Church, Bavaria Mode of Music Title Page, 1756 Pierre Simon Fournier le Jeune 1712–1768 The Wies Church, Bavaria The Amalienburg Palace Bavaria Ornaments Page, 1771 Louis René Luce 1692–1766 Manuel Typographique 1764 & 1768 Pierre Simon Fournier le Jeune 1712–1768 A Poem On the Universal Penman 1740 George Bickham 1706–1771 Roman & Italic Specimens 1734 William Caslon 1692–1766 Title Pages for Bucolica, Georgica, et Aeneis & Paradise Regained 1757 & 1788 John Baskerville 1706–1775 A B C A. Sagio Tipografic 1771 B. Virgil Maronis 1793 C. Manuale Tipografico 1818 Giambattista Bodoni 1740–1813 Giambattista Bodoni 1740–1813 The French Revolution & Neoclassicism 1770–1830 Oath of the Horatii 1784 Jacques-Louis David 1744–1825 Death of Marat 1793 Jacques-Louis David 1744–1825 Marius at Minturnae 1786 Jean Germain Drouais 1763–1788 Regent's Park, London The Grand Palace: la maison des ducs de brabant Somewhere in the U.K. -
Smashing Ebook
IMPRINT Imprint © 2013 Smashing Media GmbH, Freiburg, Germany ISBN: 978-3-943075-54-0 (Version 1: April 2013) Cover Design: Ricardo Gimenes PR & Press: Stephan Poppe eBook Strategy and Editing: Vitaly Friedman Technical Editing: Cosima Mielke Planning and Quality Control: Vitaly Friedman, Iris Lješnjanin Tools: Elja Friedman. Syntax Highlighting: Prism by Lea Verou. Copywriter: Clarissa Peterson Idea & Concept: Smashing Media GmbH About This Book Typography is everywhere. If you walk out the door, you will be hard pressed to find any element of our daily lives that doesn’t involve or re- ly on typography. The prevalence of typography is not limited only to the analog world. This eBook introduces historical and cultural aspects of type and how they relate to the Web industry. Find out about chang- ing fads in type, about the complexities of Japanese characters and about typographic applications for different situations. You are sure to learn something that you didn’t know before from our great authors. TABLE OF CONTENTS Japanese, A Beautifully Complex Writing System ..........................................3 Respect Thy Typography........................................................................................16 Typography Carved In Stone................................................................................ 27 Industrial-Strength Types.....................................................................................46 Legitima Typeface: An Experience Of Fossils And Revivals ......................69 When Typography -
Typography in Advertising
Doctoral Thesis Typography in Advertising Typografie v reklamě Author: Aleksandar Donev, MSc Degree programme: Visual Arts (P8206) Degree course: Multimedia and Design (8206V102) Supervisor: Doc. PhDr. Zdeno Kolesár, Ph.D. Zlín, December 2015 © Aleksandar Donev Published by Tomas Bata University in Zlín in the Edition Doctoral Thesis. The publication was issued in the year 2015 Key words in English: Typography, Advertising, Visual Communication, Design, Typefaces, Fonts Key words in Czech: Typografie, Reklama, Vizuální Komunikace, Design, Písma, Fonty Full text of the Doctoral Thesis is available in the Library of TBU in Zlín ISBN 978-80-……… ABSTRACT This thesis is set to investigate the use of type and typography in advertising, the role of typography in rendering the advertising message and the effects it has on the same. Typography and advertising both have been researched significantly all over the world but mainly as a two separate disciplines without showing the importance of their connection. The aim of my thesis is to fill that gap and show the significance of typography in advertising and their relationship in the communication process. The approach undertaken in this thesis is mainly theoretical, including statistics, a survey, a case study and an analysis of literature from various sources in the field of the research. I have analysed the factors that make typography suitable and effective for advertising purposes. With this research I am able to confirm that the use of typography and type for advertising purposes is slightly different than its use for other purposes. I am hoping that my work will make designers and advertisers more aware of the importance of typography in the creation of advertisements and that they will make better use of it. -
Unraveling Aspects of Brazilian Design History Through the Study of 19Th Century Almanacs and Type Specimens
Design Research Society DRS Digital Library DRS2012 - Research: Uncertainty Contradiction DRS Biennial Conference Series Value Jul 1st, 12:00 AM Unraveling Aspects of Brazilian design History through the Study of 19th Century Almanacs and Type Specimens Priscila L. Farias University of São Paulo & Senac University Center Isabella R. Aragão Federal University of Pernambuco Edna L.O. Da Cunha Lima Pontifical Catholic University of Rio de Janeiro Follow this and additional works at: https://dl.designresearchsociety.org/drs-conference-papers Citation Farias, P., Aragão, I., and Da Cunha Lima, E. (2012) Unraveling Aspects of Brazilian design History through the Study of 19th Century Almanacs and Type Specimens, in Israsena, P., Tangsantikul, J. and Durling, D. (eds.), Research: Uncertainty Contradiction Value - DRS International Conference 2012, 1-4 July, Bangkok, Thailand. https://dl.designresearchsociety.org/drs-conference-papers/drs2012/researchpapers/37 This Research Paper is brought to you for free and open access by the Conference Proceedings at DRS Digital Library. It has been accepted for inclusion in DRS Biennial Conference Series by an authorized administrator of DRS Digital Library. For more information, please contact [email protected]. DRS 2012 Bangkok Chulalongkorn University Bangkok, Thailand, 1–4 July 2012 Unraveling Aspects of Brazilian design History through the Study of 19th Century Almanacs and Type Specimens Priscila L. FARIASa, Isabella R. ARAGÃOb and Edna L.O. da CUNHA LIMAc aUniversity of São Paulo & Senac University Center bFederal University of Pernambuco cPontifical Catholic University of Rio de Janeiro Abstract Printing with movable type was officially introduced in Brazil in 1808, following the transfer of the Portuguese Court to Rio de Janeiro, opening an important chapter in the story of Brazilian ‘design-before-design’.