School of Graphic Design > AAU > Fall 2013 > Instructor: Nita Ybarra
PROJECT COLLECTION
Type 1: Hierarchy & Form
CHRIS TARAMPI PROJECTS
1 > TYPE ANATOMY
2 > PROTO TYPEFACE
3 > (OPTICALLY IMPROVISED)
4 > STRUCTURE (GRID SYSTEM)
5 > ALIGNMENTS & LINESPACING
6 > VISUAL SEMANTICS
7> TYPE CLASSIFICATION POSTERS
8 > SUMMarY POSTER CHRIS TARAMPI > TYPE 1: Hierarchy & Form | type anatomy
tHe pARts Of a LEtTeR
D n x g - / CHRIS TARAMPI > TYPE 1: Hierarchy & Form | PROTOTYPEFACE (SHUTTER) CHRIS TARAMPI > TYPE 1: Hierarchy & Form | STRUCTURE (OPTICALLY IMPROVISED)
Davies Symphony Hall Davies Symphony Hall Wednesday 201 Van Ness Avenue Davies Symphony Hall October 30, Davies201 Van Symphony Ness Avenue Hall San Francisco, CA 94102 Wednesday 201 Van Ness Avenue San Francisco, CA 94102 October2013 30, 201 Van Ness Avenue San Francisco, CA 94102 San Francisco, CA 94102 2013 8:00 p.m. 8:00 p.m. City Art & Lectures City Art & Lectures
Jaron Lanier JARON LANIER Davies Symphony Hall In conversation with Phil Bronstein In conversation with Phil Bronstein 201 Van Ness Avenue Jaron Lanier JARON LANIER Davies Symphony Hall In conversation with Phil Bronstein In conversation with Phil Bronstein San Francisco, CA 94102 201 Van Ness Avenue Wednesday San Francisco, CA 94102 Wednesday October 30, 2013 Wednesday October 30 8:00 p.m. Wednesday October 30, 2013 2013 October 30 8:00 p.m. 2013 City Art & Lectures 8:00 p.m. City Art & Lectures 8:00 p.m. City Art & Lectures jaron lanier City Art & Lectures INj CONVERSATIONaro WITHn PHIL lanier BRONSTEIN IN CONVERSATION WITH PHIL BRONSTEIN
www.cityarts.net www.cityarts.net www.cityarts.net www.cityarts.net www.cityarts.net www.cityarts.net
Davies Symphony Hall City Art & Lectures 201 Van Ness Avenue www.cityarts.net Davies Symphony Hall City Art & Lectures San Francisco, CA 94102 201 Van Ness Avenue www.cityarts.net San Francisco, CA 94102 City Art & Lectures Wednesday City Art & Lectures October 30, 2013 Wednesday 8:00 p.m. October 30, 2013 8:00 p.m.
Wednesday Wednesday JARON LANIER October 30, 2013 In conversation with Phil Bronstein WednesdayOctober 30, 2013 Wednesday 8:00 p.m. JARON LANIER 8:00 p.m. October 30, 2013 In conversation with Phil Bronstein October 30, 2013 8:00 p.m. 8:00 p.m. City Art & Lectures JARON LANIER In conversation with Phil Bronstein City Art & Lectures JARON LANIER In conversation with Phil Bronstein
In conversation with Phil Bronstein Jaron Lanier Davies Symphony Hall In conversation with Phil Bronstein 201 Van Ness Avenue Davies Symphony Hall Jaron Lanier San Francisco, CA 94102 201 Van Ness Avenue San Francisco, CA 94102
Davies Symphony Hall 201 Van Ness Avenue Davies Symphony Hall www.cityarts.net San Francisco, CA 94102 www.cityarts.net 201 Van Ness Avenue www.cityarts.net San Francisco, CA 94102 www.cityarts.net CHRIS TARAMPI > TYPE 1: Hierarchy & Form | STRUCTURE (GRID SYSTEM)
Common Various forms of dysfunction appear among common Various forms of dysfunction appear among Typographic the populations exposed to typography for typographic the populations exposed to typography for Disorders long periods of time. Listed here are a number disorders long periods of time. Listed here are a number of frequently observed afflictions. of frequently observed afflictions.
Typophilia Typophobia Typochondria typophilia The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. An excessive The irrational dislike A persistent anxiety The fears of the typophobe can often be attachment to and of letterforms, that one has deleted quieted (but not cured) by steady doses of fascination with the often marked by a the wrong typeface. Helvetica and Times Roman. shape of letters, preference for icons, This condition is often to the exclusion dingbats, and—in often paired with of other interests fatal cases—bullets okd (optical kerning and object choices. and daggers. disorder), the need to typophobia An excessive attachment to and fascination Typophiliacs usually The fears of the constantly adjust and with the shape of letters, often to the die penniless and typophobe can often readjust the spaces exclusion of other interests and object alone. be quieted (but not between letters. choices. Typophiliacs usually die penniless cured) by steady and alone. doses of Helvetica and Times Roman.
typochondria A persistent anxiety that one has deleted the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
Common Typophobia Typophilia Typochondria Various forms of Common Typographic Disorders Typographic dysfunction appear Disorders among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Various forms of The irrational dislike An excessive A persistent anxiety Typophobia The irrational dislike of letterforms, often marked by a preference for dysfunction appear of letterforms, attachment to and that one has deleted icons, dingbats, and—in fatal cases—bullets and daggers. The fears of among populations often marked by a fascination with the the wrong typeface. the typophobe can often be quieted (but not cured) by steady doses of exposed to preference for icons, shape of letters, This condition is Helvetica and Times Roman. typography for long dingbats, and—in often to the exclusion often paired with periods of time. fatal cases—bullets of other interests okd (optical kerning Listed here are a and daggers. and object choices. disorder), the need to number of frequently The fears of the Typophiliacs usually constantly adjust and observed afflictions. typophobe can often die penniless readjust the spaces be quieted (but not and alone. between letters. Typophilia An excessive attachment to and fascination with the shape of cured) by steady letters, often to the exclusion of other interests and object choices. doses of Helvetica Typophiliacs usually die penniless and alone. and Times Roman.
Typochondria A persistent anxiety that one has deleted the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters. CHRIS TARAMPI > TYPE 1: Hierarchy & Form | aLIGNMENTS & LINESPACING
garamond 2 LINE SPACING & ALIGNMENT
_1 The arrangement of text into columns with hard or soft edges is called alignment. The distance from the baseline of one line of type to another is called line spacing. _5 Each basic style of alignment brings aesthetic qualities and potential hazards to It is also called leading, in reference to the strips of lead used to separate lines of Justified metal type. The default setting in most layout and imaging software is slightly the design of page or screen. text, which has even edges on both left greater than the cap height of the letters. Expanding this distance creates a text and right, has been the norm since the invention of printing with movable type, block with a lighter, more open color. As line spacing increases further, the lines of which enabled the creation of page after page of straight-edged columns. Justi- type become independent linear elements rather than parts of an overall texture. fied type makes efficient use of space, and it also creates a clean shape on the page. Ugly gaps can occur, however, when the line length is too short in rela- tion to the size of type used. Hypenation breaks up long words and helps keep The distance from the baseline of one line of type to another is called line spac- _6 the lines of text tightly packed. Letterspacing can also be used to adjust a line. ing. It is also called leading, in reference to the strips of lead used to separate lines of metal type. The default setting in most layout and imaging software is slightly greater than the cap height of the letters. Expanding this distance creates a text _2 In flush left / ragged right text, the left edge is hard and the right edge is soft. block with a lighter, more open color. As line spacing increases further, the lines of Word spaces do not fluctuate, so there are never big holes inside the lines of text. type become independent linear elements rather than parts of an overall texture. This format, which was rarely used before the twentieth century, respects the flow of language rather than submitting to the law of the box. Despite its advan- tages, however, the flush left format is frought with danger. Above all, the The distance from the baseline of one line of type to another is called line spacing. _7 designer must work hard to control the appearance of the rag along the left edge. It is also called leading, in reference to the strips of lead used to separate lines of A good rag looks pleasantly uneven, with no lines that are exessively long or short, and with hyphenation kept to an absolute minimum. A rag is considered metal type. The default setting in most layout and imaging software is slightly “bad” when it looks too even (or too uneven), or when it begins to form greater than the cap height of the letters. Expanding this distance creates a text regular shapes, like wedges, moons, or diving boards. block with a lighter, more open color. As line spacing increases further, the lines of type become independent linear elements rather than parts of an overall texture. _3 Flush right / ragged left is a varient of the more fimiliar flush left setting. It is common wisdom among typographers that flush right text is hard to read, because it forces the reader’s eye to find a new position at the start of each line. The distance from the baseline of one line of type to another is called line spacing. _8 This could be true, or it could be an urban legend. At any rate, the flush It is also called leading, in reference to the strips of lead used to separate lines of right setting is rarely employed for long bodies of text. Used in smaller blocks, however, flush right text forms effective marginal notes, sidebars, pull quotes, or metal type. The default setting in most layout and imaging software is slightly other passages that comment on a main body or image. A flush or ragged edge can suggest attraction (or repulsion) between chunks of information. greater than the cap height of the letters. Expanding this distance creates a text block with a lighter, more open color. As line spacing increases further, the lines
_4 Centered text is symmetrical, of type become independent linear elements rather than parts of an overall texture like the facade of a classical building. Centered type is often employed on invitations, title pages, certificates, and tomb stones. The edges of a centered column are allowed to be dramatically unveven. Centered lines are often broken to emphasize a key phrase (such as the name of the bride or the date of her wedding) or to allow a new thought to begin on its own line. Breaking lines in this manner is called breaking for sense.
_1 Justified _2 Flushed left/rag right _5 8/8 _6 8/10 8/10 8/10 8 points type 8 points type 8 points type 8 points type 8 points leading 10 points leading 10 points leading 10 points leading +20 tracking +20 tracking +20 tracking +20 tracking
_3 Flushed right/rag left _4 Centered _7 8/13 _8 8/17 8/10 8/10 8 points type 8 points type 8 points type 8 points type 13 points leading 17 points leading 10 points leading 10 points leading +20 tracking +20 tracking +20 tracking +20 tracking CHRIS TARAMPI > TYPE 1: Hierarchy & Form | VISUAL SEMANTICS CHRIS TARAMPI > TYPE 1: Hierarchy & Form | TYPE CLASSIFICATION POSTErS (GARAMOND)
humanist | g a r a l d e | transitional | didone | slab serif | lineale
garamond | 1530 2 claude garamond (ca. 1480–1561) cut types for the parisian scholar-printer robert estienne in the first part of the sixteenth century, basing romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495. Garamond refined his Romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, the Garamond punches made their way to the printing office of Christoph Plantin in Antwerp, where they were used by Plantin for many decades, and still exist in the Plantin-Moretus museum. Other Garamond punches went to the Frankfurt foundry of Egenolff-Berner, who issued the famous Egenolff-Berner specimen in 1592 that became an important source of information about the Garamond types for later scholars and designers. ¶ In 1621, sixty years after Garamond’s death, the French printer Jean Jannon (1580–1635) issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular in slope and axis. Jannon’s types disappeared from use for about two hundred years, but were re- discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon’s types were used to print a history of printing in France, which brought new attention to French typography and the “Garamond” types. This sparked the beginning of modern revivals; some based on the mistaken model from Jannon’s types, and others on the original Garamond types. ¶ Italics for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513–1589), who worked for Plantin and whose types are also on the Egenolff-Berner specimen. ¶ Linotype has several versions of the Garamond typefaces. Though they vary in design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable by their elegance and readability. ¶ Garalde (Old Style) were designed centuries ago by such masters as the French printer Claude Garamond and the Venetian printer Aldus Manutius. Garalde type faces include some of the most popular roman styles in use today.
adobe garamond pro | 24 pt A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9
2. 3. AQR1.
characteristics
1. Horizontal Crossbar 2. Axis is Slightly Inclined Left 3. Bracketed Serif CHRIS TARAMPI > TYPE 1: Hierarchy & Form | TYPE CLASSIFICATION POSTERS (ROCKWELL)
humanist | garalde | transitional | didone | slab serif | lineale
roCKWell | 1934 OriGiNal rOcKWell Was ProduCed BY the inland t YPeFoundrY in 1910 . SUPERVISED BY FRANK HINMAN PIERPONT WhiCh issued it as litho antiQue. rockwell is a geometric slab serif design which are like serifs. they generally have no bracket. Because versitile, it is a strong display face for headlines and of its bold appearance, they were mostly used in large posters; it is also legible in short text blocks. rock- headlines and advertisements but are seldom used in well belongs to the family called slab serif where the body text. rockwell is a distinctive version of a geo- serifs are about as thick as the main strokes of every metric slab serif design, which has retained its popu- letter; it is a monoweighted typeface. it was made out larity since its appearance in the 1930’s. the slab ser- of commercial necessity and is used mainly in head- ifs, or egyptians, originated in the nineteenth century lines and large text. it’s characterized by thick, block when they were used principally for display work.
roCKWell | 24 Pt a B C d e F g h i J K l m n o P Q r s t u V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9
2.
1. a Q 3. r
characteristics
1. serifs are horizontal & thick 2. axis is Vertical 3. sloped heavy serifs CHRIS TARAMPI > TYPE 1: Hierarchy & Form | TYPE CLASSIFICATION POSTERS (HELVETICA)
humanist | garalde | transitional | didone | slab serif | lineale
HELVETICA | 1957
The lineale category consists of four hoffmann wanted neue haas grotesk to them). it has received positively, and has subcategories: grotesque, neo-grotesque, form a contemporary version of an older grown into several common forms, such humanist, and geometric. New refinements typeface known as akzidenz grotesk. as helvetica light, helvetica bold, and put in in the sub-category of neo-grotesque. this new design would allow the typeface to helvetica black. We see it dozens of times
be featured in a variety of situations without every day, that appear on billboards,
Helvetica is one of the most ubiquitous ever seeming inappropriate. postcards, business cards, magazine ads, design classics of our time. it’s a sans websites, logos, packaging, and numerous serif grotesque typeface, inspired by Haas Type Foundry’s parent company, other items. and based on the akzidenz-grotesk mergenthaler linotype, decided to market typeface created by berthold around 1898. neue haas grotesk in foreign markets, so it has captured the modernist preference helvetica was invented in 1957 by eduard they changed the name to helvetica in an for clarity and simplicity to suggest greater hoffmann, director of haas type foundry in effort to make it more appealing and easier ideas. the fact that the typeface is clean-cut münchenstein, switzerland, with the help of to pronounce for international customers. and simple means that it can be used as a max miedinger. there have been a number of helvetica neutral platform in a wide variety of settings,
variations created, including a number of it is the particular context and content of
Originally called neue Haas Grotesk, language variants (Cyrillic, Korean, hindi, the messages that convey their meaning. it aimed to embody a no-frills style. Japanese, Vietnamese, and greek among helvetica is an all-purpose type design.
H elV e T i C a neU e | 21 PT a b C d e f g h i J K l m n o P Q r s t u V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9
2.
1. a Q 3.r CHa R a CTe R i STi CS
1. horizontal Crossbar 2. axis is Vertical 3. no serifs Davies Symphony Hall 201 Van Ness Avenue San Francisco, CA 94102
JARON LANIER In conversation with Phil Bronstein
Wednesday October 30, 2013 8:00 p.m.
City Art & Lectures
www.cityarts.net
CHRIS TARAMPI > TYPE 1: Hierarchy & Form | SUMMARY PoSTER www.cityarts.net
City Art & Lectures
humanist | garalde | transitional | didone | slab serif | lineale
Wednesday October 30, 2013 roCKWell | 1934 8:00 p.m. Jaron Lanier In conversation with Phil Bronstein OriGiNal rOcKWell Was ProduCed BY the inland t YPeFoundrY in 1910 . LINE SPACING & ALIGNMENT SUPERVISED BY FRANK HINMAN PIERPONT
Davies Symphony Hall WhiCh issued it as litho antiQue. 201 Van Ness Avenue San Francisco, CA 94102 rockwell is a geometric slab serif design which are like serifs. they generally have no bracket. Because humanist | garalde | transitional | didone | slab serif | lineale versitile, it is a strong display face for headlines and of its bold appearance, they were mostly used in large posters; it is also legible in short text blocks. rock- headlines and advertisements but are seldom used in _ e arrangement of text into columns with hard or soft edges is called alignment. e distance from the baseline of one line of typewell to anotherbelongs is to called the familyline spacing. called slab_ serif where the body text. rockwell is a distinctive version of a geo- Each basic style of alignment brings aesthetic qualities and potential hazards to It is also called leading, in reference to the stripsserifs of lead are used about to asseparate thick linesas the of main strokes of every metric slab serif design, which has retained its popu- metal type. e default setting in most layout and imaging software is slightly the design of page or screen. Justifi ed text, which has even edges on both left letter; it is a monoweighted typeface. it was made out larity since its appearance in the 1930’s. the slab ser- greater than the cap height of the letters. Expanding this distance creates a text HELVETICA | 1957 and right, has been the norm since the invention of printing with movable type, block with a lighter, more open color. As line spacingof commercial increases further, necessity the linesand isof used mainly in head- ifs, or egyptians, originated in the nineteenth century which enabled the creation of page after page of straight-edged columns. Justi- type become independent linear elements ratherlines than and parts large of an text. overall it’s characterizedtexture. by thick, block when they were used principally for display work. fi ed type makes effi cient use of space, and it also creates a clean shape on the page. Ugly gaps can occur, however, when the line length is too short in rela- tion to the size of type used. Hypenation breaks up long words and helps keep The distance from the baseline of one line of type to another is called line spac- _ the lines of text tightly packed. Letterspacing can also be used to adjust a line. ing. It is also called leading, in reference to the stripsroCKW ofell lead | 24 used Pt to separate lines The lineale category consists of four hoffmann wanted neue haas grotesk to them). it has received positively, and has of metal type. The default setting in most layouta and B imaging C d software e F is slightlyg h i J K l m n o P Q r s t u V W X Y Z subcategories: grotesque, neo-grotesque, form a contemporary version of an older grown into several common forms, such greater than the cap height of the letters. Expanding this distance creates a text _ In fl ush left / ragged right text, the left edge is hard and the right edge is soft. block with a lighter, more open color. As line spacing increases further, the lines of humanist, and geometric. New refinements typeface known as akzidenz grotesk. as helvetica light, helvetica bold, and a b c d e f g h i j k l m n o p q r s t u v w x y z Word spaces do not fl uctuate, so there are never big holes inside the lines of text. type become independent linear elements rather than parts of an overall texture. put in in the sub-category of neo-grotesque. this new design would allow the typeface to helvetica black. We see it dozens of times is format, which was rarely used before the twentieth century, respects the tHe pARts be featured in a variety of situations without every day, that appear on billboards, 0 1 2 3 4 5 6 7 8 9 fl ow of language rather than submitting to the law of the box. Despite its advan- Helvetica is one of the most ubiquitous ever seeming inappropriate. postcards, business cards, magazine ads, tages, however, the fl ush left format is frought with danger. Above all, the e distance from the baseline of one line of type to another is called line spacing. _ design classics of our time. it’s a sans designer mustwebsites, work logos, hard packaging, to control and thenumerous appearance of the rag along the left edge. It is also called leading, in reference to the strips of lead used to separate lines of serif grotesque typeface, inspired by Haas Type Foundry’s parent company,A good rag looksother items. pleasantly uneven, with no lines that are exessively long or and based on the akzidenz-grotesk mergenthaler linotype, decided to market metal type. e default setting in most layout and imaging software is slightly short, and with hyphenation kept to an absolute minimum. A rag is considered typeface created by berthold around 1898. neue haas grotesk in foreign markets,“bad” so when i tit has looks captured too theeven modernist (or too preference uneven), or when it begins to form greater than the cap height of the letters. Expanding this distance creates a text they changed the name to helvetica in an for clarity and simplicity to suggest greater Of a LEtTeR helvetica was invented in 1957 by eduard regular shapes, like wedges, moons, or diving boards. block with a lighter, more open color. As line spacing increases further, the lines of hoffmann, director of haas type foundry in effort to make it more appealing and easier ideas. the fact that the typeface is clean-cut 2. type become independent linear elements rather than parts of an overall texture. münchenstein, switzerland, with the help of to pronounce for international customers. and simple means that it can be used as a
max miedinger. there have been a number_ of helvetica Flush rightneutral /platform ragged in left a wide is avariety varient of settings, of the more fi miliarhumanist fl ush | gleft a r asetting. l d e | transitional It is | didone | slab serif | lineale
variations created, including a number of commonit is the wisdom particular contextamong and typographers content of that fl ush right text is hard to read, because it forces the reader’s eye to fi nd a new position at the start of each line. e distance from the baseline of one line of type to another is called line spacing.1. _ Originally called neue Haas Grotesk, language variants (Cyrillic, Korean, hindi, the messages that convey their meaning. 3. is could be true, or it could be an urban legend. At any rate, the fl ush it aimed to embody a no-frills style. Japanese, Vietnamese, and greek among helvetica is an all-purpose type design. It is also called leading, in reference to the strips of lead used to separate linesa of Q r right setting is rarely employed for long bodies of text. Used in smaller blocks, however, fl ush right text forms eff ective marginal notes, sidebars, pull quotes, or metal type. e default setting in most layout and imaging software is slightly other passages that comment on a main body or image. A fl ush or ragged garamond | 1530 characteristics edge can suggest attraction (or repulsion) between chunks of information. greater than the cap height of the letters. Expanding this distance creates a text H elV e T i C a neU e | 21 PT 1. serifs are horizontal & thick block with a lighter, more open color. As line spacing increases further, the lines 2. axis is Vertical a b C d e f g h i J K l m n o P Q r s t u V W X Y Z 2 3. sloped heavy serifs a b c d e f g h i j k l m n o p q_ r s t u v w x y z Centered text is symmetrical, of type become independent linear elements rather than parts of an overall texture 0 1 2 3 4 5 6 7 8 9 like the facade claudeof a classical garamond building. (ca. 1480–1561) cut types for the parisian scholar-printer robert estienne in the first part of the x g sixteenth century, basing romans on the types cut by Francesco Griffo for Venetian printer Aldus Manutius in 1495.D Garamond n Centered type is often employed on refined his Romans in later versions, adding his own concepts as he developed his skills as a punchcutter. After his death in 1561, invitations, title pages,the certifi Garamond cates, punches and tomb made theirstones. way to the printing office of Christoph Plantin in Antwerp, where they Commonwere used by Plantin Various forms of dysfunction appear among e edges offor a manycentered decades, column and still exist in the Plantin-Moretus museum. Other Garamond punches went to the FrankfurtTypographic foundry of the populations exposed to typography for Egenolff-Berner, who issued the famous Egenolff-Berner specimen in 1592 that became an important source of information about are allowed to be dramatically unveven. Disorders long periods of time. Listed here are a number the Garamond types for later scholars and designers. ¶ In 1621, sixty years after Garamond’s death, the French printer Jean Jannon Centered lines are often broken(1580–1635) to issued emphasize a specimen a keyof typefaces phrase that had some characteristics similar to the Garamond designs, though his letters were of frequently observed afflictions. 2. (such as themore name asymmetrical of the bride and irregular in slope and axis. Jannon’s types disappeared from use for about two hundred years, but were re- discovered in the French national printing office in 1825, when they were wrongly attributed to Claude Garamond. Their true origin or the date of her wedding) was not to be revealed until the 1927 research of Beatrice Warde. In the early 1900s, Jannon’s types were used to print a history of 1. or to allow a new thoughtprinting to in begin France, on which its ownbrought line. new attention to French typography and the “Garamond” types. This sparked the beginning 3. - of modern revivals; some based on the mistaken model from Jannon’s types, and others on the original Garamond types. ¶ Italics Breaking lines in this manner is called for Garamond fonts have sometimes been based on those cut by Robert Granjon (1513–1589), who worked for Plantin and whose a Q r breaking for sense. / types are also on the Egenolff-Berner specimen. ¶ Linotype has several versions of the Garamond typefaces. Though they vary in CHa R a CTe R i STi CS design and model of origin, they are all considered to be distinctive representations of French Renaissance style; easily recognizable Typophilia Typophobia Typochondria 1. horizontal Crossbar by their elegance and readability. ¶ Garalde (Old Style) were designed centuries ago by such masters as the French printer Claude 2. axis is Vertical Garamond and the Venetian printer Aldus Manutius. Garalde type faces include some of the most popular roman styles in use today. 3. no serifs _ Justified adobe garamond_ Flushed pro left/rag| 24 pt right _ / _ / An excessive The irrational dislike A persistent anxiety / A B C D/ E F G H I J K L M N O P Q R S T U V W X Y Z attachment to and of letterforms, that one has deleted a b c d e f g h i j k l m n o p+ q r s t u v w x y z + fascination with the often marked by a the wrong typeface. + + 0 1 2 3 4 5 6 7 8 9 shape of letters, preference for icons, This condition is often to the exclusion dingbats, and—in often paired with _ Flushed right/rag left _ Centered _ / _ / / / of other interests fatal cases—bullets okd (optical kerning and object choices. and daggers. disorder), the need to + + + + 2. Typophiliacs usually The fears of the constantly adjust and 3. die penniless and typophobe can often readjust the spaces
1. alone. be quieted (but not between letters. cured) by steady 1>AQR STRUCTURE (OPTICALLY IMPROVISED) doses of Helvetica characteristics and Times Roman. 2> PROTO1. Horizontal T CrossbarYPEFACE 1 2 3 2. Axis is Slightly Inclined Left 3. Bracketed Serif 3> TYPE CLASSIFICATION POSTERS (ROCKWELL)
4> TYPE CLASSIFICATION POSTERS (HELVETICA)
5> ALIGNMENTS & LINESPACING 5 6> TYPE ANATOMY
7> VISUAL SEMANTICS 6 4 8> TYPE CLASSIFICATION POSTERS (GARAMOND)
9> STRUCTURE (GRID SYSTEM)
8
9 7 School of Graphic Design > AAU > Fall 2013 > Instructor: Nita Ybarra
CHRIS TARAMPI