Research Presentations / GRPH223 / Typography / UNL / Department of Art + Art Histiory

Typography GRPH 223–01 11:00 – 1:50 p.m. Tuesday + Thursday 208 Woods Art Building

Stacy Asher telephone 415 312 7810 email [email protected] 209A Woods Art Building

Office Hours Tuesday + Thursday 5:00 – 6:00 p.m. or by appointment

stacyasher.com

ResearchPresentations

mailto:[email protected]

stacyasher.com

hand lettering in the contemporary

Handlettering Vs. Calligraphy

origins of handlettering

Prominate letterers

Process

Hand lettering

To Print by hand

Hand lettering Vs. Calligraphy

history ofHand lettering

NOTABLE HAND LETTERS NOTABLE

HAND LETTERers

Dan Cassaro@Dan_Cassaro

Andrea Kalfas@andreakalfas

Ale Paul@alepaul

Linzie Hunter@linziehunter

Jessica Hische@jesicahische

David Plunkert@plunkert

http://youngjerks.com

http://www.andreakalfas.com

http://www.alepaul.com

http://www.linziehunter.co.uk

http://jessicahische.is

http://davidplunkert.com

Leuchtturn Notebook

PalaminoBlackwing

Dux PencilSarpener

https://vimeo.com/98556880

WORKS CITED

Alessio, Joseph. "Understanding The Difference Between Type And Lettering." Smashing Magazine. N.p., 17 Jan. 2013. Web. 25.Apr. 2015. This all inclusive article help proved my point that there is in fact more of a difference between hand lettering and calligraphy than most think. It was also a great solid review of hand lettering history that proved to be quite informative.

Cassaro, Dan. Young Jerks. N.p., n.d. Web. 25 Apr. 2015. <http://youngjerks.com/>. Graphic Designers website displaying their bio, portfolio. Great resource for showing a good wealth of work by each artist while also showing their personality through how they design their website.

Cataldo, John W. "Mechanical Lettering." Lettering: A Guide for Teachers. Worcester, MA: Davis Publications, 1958. 62-68. Print. This book was written and intended for teachers teaching calligraphy and hand lettering. I used this as a resource to find out how the process of hand lettering has differed from the 1950s to now. Thought not completely comprehensive, it gave the vital infor-mation needed.

Coyne, Patric, ed. "Calligraphy/Handlettering." Editorial. Communication Arts Typography Annual 4 Feb. 2014: 100-65. Print. Typography Annual proved to be a great resource to find designers to present in this presentation. This is source that most every graphic designer uses, making it credible by association.

Grant, Angelynn. "3 Typography Experts Weigh in on the Recent Hand-Lettering Boom." AIGA Eye on Design. AIGA, 09 Mar. 2015. Web. 25 Apr. 2015. Q & A with designers Ken Barber, Martina Flor, and Ale Paul. The well known designers and hand letter-ers give their opinions on the hand lettering revival in the contemporary and how it is both inventive and detrimental. This resource helped strengthen the presentation by allowing the viewer to see another side to hand lettering.

Hische, Jessica. "Jessica Hische, SF Design Week Sketch." Vimeo. N.p., 2014. Web. 27 Apr. 2015. This video shows the process of how hand letterer Jessica Hische sketches from beginning to end. This is a very informative resource for the viewer to really show how its done in real time.

Hische, Jessica. "Jessica Hische’s Sketch Blog." Jessica Hische's Sketch Blog. N.p., n.d. Web. 25 Apr. 2015. This blog is based upon showing how a letterer gets from analog to digital and how they can inform each other. Great resource for photos for the pre-sentation. Though it is a blog post, I consider this to be a valuable resource as it is from the hand letterer herself, Jessica Hische, Who is a very credible designer in the contemporary.

Hunter, Linzie. Portfolio Website of Illustrator Linzie Hunter. N.p., n.d. Web. 25 Apr. 2015. <http://www.linziehunter.co.uk/>. Graphic Designers website displaying their bio, portfolio. Great resource for showing a good wealth of work by each artist while also showing their personality through how they design their website.

Kalfas, Andrea. "Andrea Kalfas Illustration." : Andrea Kalfas Illustration :. N.p., n.d. Web. 26 Apr. 2015. <http://www.andreak-alfas.com/>. Graphic Designers website displaying their bio, portfolio. Great resource for showing a good wealth of work by each artist while also showing their personality through how they design their website.

Paul, Ale. Ale Paul, n.d. Web. 25 Apr. 2015. Graphic Designers website displaying their bio, portfolio. Great resource for show-ing a good wealth of work by each artist while also showing their personality through how they design their website.

Plunker, David. "David Plunker." David Plunkert. N.p., n.d. Web. 25 Apr. 2015. <http://davidplunkert.com/>. Graphic Designers website displaying their bio, portfolio. Great resource for showing a good wealth of work by each artist while also showing their personality through how they design their website.

H I S T O R Y WESTERN EUROPEANA L P H A B E T

OF T

HE

Writing is words made visible. In the broadest sense, it is everything—pictured, drawn, or arranged—that can be turned into a spoken account. The fundamental purpose of writing is to convey ideas. Our ancestors, however, were designers long before they were writers, and in their pictures, drawings, and arrangements, design played a prominent role in communication from the very beginning.

“

” - Allan Haley

Cave Paintings of Lascaux15,000-10,000 BC

• One of the first forms of visual communication

• Reffered to as pictographs

• First attemps at graphic communication

Mesopotamian Clay Tablets3100-2800 BC

http://tciyear7humanities.wikispaces.com/file/view/cuneiform%20(1).jpg/525774278/cuneiform%20(1).jpg

• Systematic form of pictographs

• Grid system

• Pictograph of hands and fingers represent them counting on their fingers

https://7440ae16f2968bfe485f076d8c2b21c9f5c10613.googledrive.com/host/0B7gDv6i3HdLlSkFUOGN3VUFCbHM/hammurabi.jpg

Law Code of Hammurabi, Babylonia1800 BC

https://7440ae16f2968bfe485f076d8c2b21c9f5c10613.googledrive.com/host/0B7gDv6i3HdLlSkFUOGN3VUFCbHM/hammurabi.jpg

• Pictographs evolved into more abstract forms

• Phonograms were first used (symbols for sound)

http://www.bibliotecapleyades.net/sitchin/planeta12/imagenes/fig007.gif

Cunieforms3000 BC

• Wedge Shaped

• Caused by changes in tools

• 560 different cunieforms

• Very few people could read or write because of that

Egyptian Heiroglyphics1450 BC

• Stylized pictograph

• Used to formulate ideas

• Reffered to as ideographs

• Approx. 700 heiroglyphs

Phoenician Alphabet1500-1000 BC

• First consolidation of letterforms

• Huge progress in processing and delivering information

• Set of 22 characters

Phaistos Disk2000 BC

• Symbols represent individual sounds from the beginning of the pictograph

• Similar to the Phoenician alphabet

Greek Papyrus Manuscript350 BC

• The Greeks settled on writing left to right

• Direction of writing is completely arbitrary

• Ogham Script spread across the Medditeranean by the Phoenicians

• Script was modified by the Greeks

to add vowels

• Edited Version was the rise of the first true alphabet

Roman Capitals100 BC - Present

• Influenced by the Etruscans

• The Etruscan alphabet had the same number of 26 letterforms that we have today.

• Romans changed the Greek “alpha, beta, gamma” to the individual characters we know as “A”, “B”, “C”, “D”

BibliographyRoss, Judy. “History of the Western European Alphabet.” Thinking With Type. El-len Lupton, 1 Jan. 2009. Web. 26 Apr. 2015.

Crabben, Jan Van Der. “Alphabet.” Ancient History Encyclopedia. Ancient History Encyclopedia Limited, 28 Apr. 2011. Web. 26 Apr. 2015.

“Who Created the First Alphabet?” History. 1 Aug. 2014. Web. 26 Apr. 2015.

Hoebel, E. Adamson. “Symbolism in Art.” Man in the Primitive World. 2nd ed. New York: McGraw-Hill, 1958. 678. Print.

“The Alphabet.” The History of Visual Communication. Web. 26 Apr. 2015.

Damen, Mark. “The History of the Alphabet.” USU. USU.EDU. Web. 26 Apr. 2015.

“Origin of the English Alphabet.” Today I Found Out. 13 Sept. 2013. Web. 26 Apr. 2015.

“History of the Alphabet: From Cuneiforms to Greek Writing.” Study. Study.com, 1 Jan. 2015. Web. 26 Apr. 2015.

“The Origin of the Alphabet.” Web. 26 Apr. 2015. <http://webspace.ship.edu/cg-boer/alphabet.html>.

Research Presentation by Kevin BuglewiczTypography I – Stacy Asher – Spring 2015

Hixson–Lied College of Fine and Performing Arts, University of Nebraska–Lincoln

I. ORIGINS

2000 BCEM E S O P OT A M I A

• Several Languages• Described work

INTERPERETATION

COMMUNICATIONEMPHASIS

AUTHORITY

UNDERSTANDING

SYNERGYEXPERIENCE

II. SYSTEMANATOMY

INTERNATIONAL QUILT STUDY CENTER & MUSEUM

1. Greater Museum Identity System 2. Show Introductions/Signage 3. Section/Gallery/Show Labels 4. Individual Object Labels 5. Credit Panel(s)

1. Greater Museum Identity System

• “News Gothic” – Caps• Usually lighter weight• In conjunction with needle logo

2. Show Introductions/Signage

“ O L D N E W S P A P E R T Y P E S ” “ F E L I X T I T L I N G ”

3. Section/Gallery/Show Labels

I N T R O D U C E S # 2 T O A B O DY T Y P E F A C E

( G A R A M O N D )

4. Individual Object Labels

G A R A M O N D

F O R L E G I B I L I T Y & S Y N E R G Y

5. Credit Panel(s)

I N G A L L E R Y : G A R A M O N DI N M U S E U M C O M M O N S :

N E W S G OT H I C

CONSISTENCY IS KEY

I. CONTEXTUAL

— T Y P E A S A T R I G G E R —

II. PROMOTIONAL


III. DIRECTIONAL


— Y O U R B R A I N O N —

TYPOGRAPHY

IV.

SerifReliableImpressiveRespectableAuthoritativeTraditionalreadabledatedexpensive

SansSerif Universal

CleanModernObjectiveStableComfortableAuthoritativeTransparent

T H A N K Y O U .

Works Cited

Antonelli, Paola. “DIGITAL FONTS: 23 NEW FACES IN MoMA’S COLLECTION.” InsideOut. Department of Architecture and Design, 24 Jan. 2011. Web. 28 Apr. 2015.

Boylan, Patrick J.; Icom. “Running a Museum: A Practical Handbook.” (n.d.): n. pag. Unesdoc. Web. 26 Apr. 2015.

Darragh, Joan, and James S. Snyder. Museum Design: Planning and Building for Art. New York: Oxford UP in Association with the American Federation of Arts and the National Endowment for the Arts, 1993. Print.

Hughes, Philip. Exhibition Design. London: Laurence King, 2010. Ebrary.com. Web. 25 Apr. 2015.

“Infographic: Fonts and Psychology in Typography.” Script Tutorials. N.p., 10 Sept. 2014. Web. 25 Apr. 2015.

Parry, Ross, and Mayra Ortiz-Williams. “How Shall We Label Our Exhibit Today? Applying the Principles of On-Line Publishing to an On-Site Exhibition.” Archives & Museum Informatics: Museums and the Web 2007: Papers: Parry, R., Et Al., How Shall We Label Our Exhibit Today? N.p., 11 Apr. 2007. Web. 28 Apr. 2015.

Reibstein, Reed, and SF. “Re: Museum Exhibit Signage and Exhibit Label Typography.” Web log comment. Typophile. N.p., 17 Jan. 2007. Web. 27 Apr. 2015.

Schittich, Christian. Exhibitions and Displays: Museum Design Concepts, Brand Presentation, Trade Show Design. Basel: Birkhäus-er Verlag AG, 2009. Print.

Stamp, Jimmy. “History, Travel, Arts, Science, People, Places | Smithsonian.” History, Travel, Arts, Science, People, Places | Smithso-nian. Smithsonian, 14 Aug. 2014. Web. 26 Apr. 2015.

the

ZINE(history and typography)

DEFINITION

andHow it wo

rks

Zine: (n)

a labor of lov

e

brooklyn zine

fest

HISTORY &

the RIOT grrr

L

Pagan Kennedy

TYPOGRAPHY

We must also look

beyond

paper. More and more w

e will

look at type on

monitors as

finished design, not just a

step

on the way to

printing. We

will receive mo

re information

directly on scre

en. This is

an enormous new

market for

designers and ty

pographers. We

cannot ignore th

e computer itsel

f

as an exciting a

nd dynamic

medium for fine

typography.

The future of ty

pe is brighter

than ever.

- Dubberly design office, 1990

Allen, Gwen. Artists’ Magazines: An Alternative Space for Art. Cam-bridge, MA: MIT, 2011. Print.

“Can Fine Typography Exist in the ’90s?” Dubberly Design Office RSS. N.p., n.d. Web. 28 Apr. 2015.

Cushing, Lincoln. All of Us or None: Social Justice Posters of the San Francisco Bay Area. Berkeley, CA: Heyday, 2012. Print.

“The Rise And Fall Of Grunge Typography.” The Awl The Rise And Fall Of Grunge Typography Comments. N.p., n.d. Web. 28 Apr. 2015.

Triggs, Teal. Fanzines: The DIY Revolution. San Francisco, CA: Chroni-cle, 2010. Print.

Evolution of theEncyclopedia

By Jessica DolanTypography GRPH 223 Spring 2015

Artistotle

• Greek philosopher• First to use comprehensive information• Known for his theories

384 B.C. to 322 B.C.

Pliny the ElderA.D. 23 to A.D. 79

• Roman naturalist• Wrote Historia Naturalis

Historia Naturalis

Isidore of Seville

A.D. 550 to A.D. 636

• He was an important churchman and was well known for his writtings

• Etymologies or Origins was the most impactful

Etymologies

• Recorded all the infor-mation during this time

• Carried on to scholars in the Middle Ages

Vincent of Beauvais

• “French Dominican Friar”• Wrote three sections of

Speculum Majus

1200s

Speculum Majus• Summarized all the information from this time• Greatest European encyclopedia until 18th century

Roger Bacon1200s

• Scientist, philosopher, and English scholastic• Most important works: Opus majus, the Opus minor,

Opus teritum

Opus Majus• Most important of his

writtings• covers all natural science

Brunetto Latini1200s

• Known for creating the first encylcopedia on language, titled Li Livres Dou Tresor

Li Livres Dou Tresor

Denis Diderot18th Century

• Most known for his part in creating the Encyclopédie

Encylcopédie

• Also called a “Systematic Dictionary of the Sciences, Arts, and Crafts”

More examples of the Encyclopédie

Encyclopedia Britannica• Thomas Dobson created the first

Ecncylopedia Britannica

1791

WikipediaPresent

• Jimmy Wales co-founded Wikipedia

Bibliography

Chicago Journals. “Pliny’s Historia naturalis.” http://www.jstor.org/discover/10.2307/224311?uid=3739792&uid=2&uid=4&uid=3739256&sid=21106599023603#page_scan_tab_contents.

I really liked this source because it provided background information about Pliny’s Historia Naturalis. If I would have enough time to put more infor-mation into my presentation, I would have been able to find a pretty good background of information from just this one page out of Historia Naturalis. It would have been nice to have access to more than just one page of the text so that I could have seen what more of the Historia Naturalis is about. It informed my thinking a lot, because it provided background information about Historia Naturalis that I could not find anywhere else. It also would have been better if this section of the text had provided more information on Pliny himself since he did write this. However, for being a source from the internet, and without actually going and finding Historia Naturalis, which would be really hard, I believe it provided adequate information.

bio. “Aristotle Biography.” http://www.biography.com/people/aristotle-9188415.

I found this biography of Aristotle that provided great information. It told me everything I could possibly need or want to know about him. Although I was able to only use a part of it because of time restrictions, it told me about Aristotle’s early life, his career in teaching, his influence on science at the time, his focuses in philosophy, the main writings he created, and finally, it told me about his death and the legacy he left behind. This biography definitely influenced my thinking towards Aristotle. I honestly didn’t know he was a writer, I thought his main interest was philosophy. It allowed me to understand how his writings had such an influence on the world at the time and how it was the start of the encyclopedia. I could not find anything wrong wit this source, it provided me with all the information I needed for this presentation.

Barney, Stephen A., W.J. Lewis, J.A. Beach, and Oliver Berghof. The Etymologies of Isidore of Seville. Cambridge: Cambridge University Press, 2006. http://pot-pourri.fltr.ucl.ac.be/files/AClassftp/TEXTES/ISIDORUS/Etymologie/B1N8PWGetQy.pdf.

This source was great for obvious reasons. It is the first English translation that covers the entire Latin Etymologies. Finding this source was great for my research. It gave me in depth information on how the Etymologies were created. It also told me what the Etymologies actually consisted of as far as informa-tion goes. I did not read all of this because if offers translation of all twenty books of the Etymologies. I once again could not find information on what typeface Isidore of Seville used within the text. I had to go to different sources and images to find that information. This source did not really influence my design pro-cess. However, it greatly enhanced my understanding of the Etymologies.

Encyclopedia Britannica. “Roger Bacon.” http://www.britannica.com/EBchecked/topic/48177/Roger-Bacon.

The Encyclopedia Britannica gave me a great amount of insight into Roger Bacon’s career. It also told me what all he did besides writing, which I found to be very interesting. This source told me about his early life, his career at the university and also his scientific career and finally his career when he was a friar. It also went on to tell me about his writings. Including all three works: Opus majus, Opus minus, and Opus tertium. It told me about what went into the cre-ation of those three pieces. It would have been helpful if Britannica had provided some images of Roger Bacon or his main writings so that it would make the information more clear and so that I could understand fully what I am being told. I also could not find information on what typeface was used in Opus majus, Opus minus, and Opus tertium.

Encyclopedia Britaannica. “Vincent of Beauvais.” http://www.britannica.com/EBchecked/topic/629359/Vincent-Of-Beauvais.

This Encyclopedia Britannica source gave me an expanded view of Vincent of Beauvais’s life, from the information I got from the timeline I utilize. It told me how many books the three sections, historical, Natural, and Doctrinal, consisted of. However, it would have been extremely helpful if the source had given me information on each of the three parts that Vincent of Beauvais wrote. I also wish there would have been images of either Vincent of Beauvais himself, or the three sections that he wrote. It also told me about the part that I did not include in my presentation, which I found interesting as well. It told me about the fourth part Speculum Mo-rale. It told me when it was added in and what it consisted of. I also think it would have been nice when this source talked about the pieces that Beauvais wrote, if they had included information on what typeface he used.

Lough, John. The Encyclopédie. New York: David McKay Company, 1971.

This book titled The Encyclopédie told me everything about the Encyclopédie. It told me about its history and how it came about. I also read about what was going on at the time in the world around the time of its creation and also what was happening after it was created. The book also provided me with an image of the Encyclopédie’s main cover page. Although the book itself did not contain information on the typeface that was used in the Encyclopédie, I was able to look at the image provided and figure out what typeface was being used. I honestly can’t find any detriments towards this source at all. I guess the only thing it is lacking it an image of Denis Diderot. However, that is not really relevant since the main focus of the book is on the Encyclopédie itself.

Lough, John. The Encyclopédie in Eighteenth-Century England and Other Studies.Oriel Press Limited, 1970.

This specific book provided me with a great deal of information on the Encyclopédie itself as well. In The Encyclopédie in Eighteenth England and Other Studies there is an entire chapter dedicated to the Encyclopédie. I learned who the other contributors were to its creation besides just Denis Diderot. I also found out more history around the Encyclopédie and again what was going on while it was being created. It also told me about all the editions that were made, and where they were made. The only detriment that I can think of is that it did not provide any images at all. However, since it was so detailed, I am not sure if that is a major problem. Just through reading the chapter on the Encyclopédie, I was able to understand a whole lot more about it, I did not find myself even wondering what it looked like since I was given so much information.

Lough, John. Essays on the Encyclopédie of Diderot and D’Alembert. London: Oxford University Press, 1968.

This particular book, Essays on the Encyclopédie of Diderot and D’Alembert, gave me a lot of incite into the Encyclopédie. It told me about the dif-ferent editions there were of the Encyclopédie. I also found out about pamphlets that were on the Encyclopédie. Within the book I also found several images of the main cover page for the Encyclopédie. This helped me figure out what typeface was used within the Encyclopédie since the book itself did not give any information on what typeface was used to create the document. I learned more about D’Alembert who was one of the other main contributors to its creation. There aren’t really any detriments to the book, I found it very helpful in my research. Besides it not having information about the typeface it used, Essays on the Encyclopédie of Diderot and D’Alembert had all the information I needed. Even though it did not have information on the typeface, that did not really matter because it provided several images with the typeface on them.

Schargo, Nelly. History in the Encyclopédie. New York: Columbia University Press, 1947.

Out of this book I mainly utilized the Introduction part because that is where it told the most about the Encyclopédie and its creators. However, I did read more into the book and it did a very good job on telling me what information the Encyclopédie actually consists of. Since I only used a small portion of this book, it would have been nice to have seen some images, but then again, I don’t think they were entirely necessary. I also could not find information on what typeface was used within the Encyclopédie. Since I could not find that information, an image of the book would have helped me figure that out better. Overall though, this source helped me find out a lot of information that I did not know before I read the book.

Springer Link. “Pliny the Elder.” http://link.springer.com/referenceworkentry/10.1007/978-1-4419-9917-7_1102.

This source on Pliny the Elder provided the information I needed for my presentation. It gave me information on Pliny’s Natural History. This source told me about the information Pliny’s Natural History provides. It also told me how many volumes there were. However, it did not give me information on Pliny the Elder’s life itself. I also could not find information on the typeface that was used in the text itself. I have to go to another source to find that information. It would have been nice if this source provided a picture of Pliny’s Natural History so that I knew what I was going off of. Even though the source gave me enough information to use in my presentation, it would have been nice if it had more detailed information about the Natural History itself, and also information on Pliny the Elder.

Springer Link. “Isidore of Seville.” http://link.springer.com/referenceworkentry/10.1007%2F978-1-4020-9729-4_249.

This source was great because it gave me background information on Isidore of Seville, and what he was known for. It expanded a little bit off of the information from the timeline I have been basing my work off of. However, since it is just an abstract, it did not go into great detail, which I think would have helped more! It also does not go into detail about his writing of the Etymology. It would have helped more if it had provided specific information on his writ-ings. As stated previously, it also would have been beneficial if there were images of Isidore of Seville or an image of his writings on this source. It did allow me to back up my timeline source, since it provides the same information, just a little more expanded. Now I know that the timeline I am utilizing is correct.

Top TenReviews Contributor. “The Evolution of Encyclopedia.” http://encyclopedia-review.toptenreviews.com/evolution-of-encyclopedia.html.

This site helped me structure my presentation. It allowed me to get a good starting point, and know what I should do further research on. It also provid-ed a nice and clear list of the encyclopedia’s evolution in chronological order, which was hard to find anywhere else. At times I wish it had provided a little bit more information about each step of the encyclopedia, but then I wouldn’t have been as curious to go out and research and see what other information I could find on my topic. It also would have been nice if for every section of the different encyclopedias, the website provided links to pictures of it. For many of these encyclopedia’s, it was very hard to find images of them that were large enough, even images at all sometimes. Even though I was able to research elsewhere and find this information, this source would have been better if it had provided dates for the section on present. To me, present could mean a lot of different years. (If that makes sense)

Wikipedia. “Brunetto Latini.” http://en.wikipedia.org/wiki/Brunetto_Latini.

This Wikipedia source gave me a great deal of information compared to the timeline I reference. It told me about his life, his writings, including Livres dou Trésor. I was also informed about the Divine Comedy and what that exactly was. I also liked how it gave me an image of Livres dou Tresor. However, it did not provide an image of Brunetto Latini, which does not make sense to me since the article is about Brunetto Latini. I also could not find information on the typeface that was used in Livres dou Tresor. I had to find this out just by studying images of the original text itself. Even though it did tell me about Livres dou Tresor, it would have been helpful if there was even more information on it.

Wikipedia. “Denis Diderot.” http://en.wikipedia.org/wiki/Denis_Diderot.

This Wikipedia source on Denis Diderot gave me a great deal of information on him. It provided me with a biography on Denis Diderot, which told me about his life and how he got to become such an important writer. It also told me about his early works and what he created before he contributed to the creation of the Encyclopédie. After that it went on to tell me about the Encylcopédie, how it was created, and how Diderot contributed to it. After that the arti-cle told me about Denis Diderot’s other works and what he created after creating his most important piece which was the Encyclopédie. Then I learned about Diderot as a philosopher. I also liked this source because it gave me images of both Diderot and the main page of the Encyclopédie. Once again, a detriment of this source was that it did not provide any information on the typeface used in the Encyclopédie, or even any of his other works.

Wikipedia. “Opus Majus.” http://en.wikipedia.org/wiki/Opus_Majus.

I went to Wikipedia to find even more detailed information on Opus Majus since it is Roger Bacon’s most important out of the three sections that he wrote. It told me what information the text covered and how it was divided into seven sections. It then went on to tell me a little bit about each of those seven divisions. I also liked how it gave a picture out of Opus Majus so that I had an idea of what I was reading about in the article. Once again, I could not find any information about the typeface that was being used in Roger Bacon’s texts. Since it is talking about a document, it would make sense to put that information in there. I do believe it would have been helpful to put a little more information in this article about Bacon since he is the creator. They didn’t provide hardly information on him.

Wikipedia. “Isidore of Seville.” http://en.wikipedia.org/wiki/Isidore_of_Seville.

Wikipedia was a great way to find information on Isidore of Seville and it allowed me to understand who he was and what he did. It built off of what was stated in the timeline I have been using as a guide. It not only told me about Isidore of Seville, but it also went on to tell me about the Etymology and allowed me to understand more about this particular text. I really don’t have anything negative to say about this source. It provided me with all the information that I was looking for and didn’t leave me questioning anything. This source also provided images of what I am researching. This helped me to even further understand exactly what I was reading about in the article. Not pertaining to the information provided in the article, but it would have been nice if this source could have shown me more images of the Etymology because it is sometimes difficult to find images that are clear and are actually from the book itself.

Wikipedia. “History of the Encyclopedia Britannica.” http://en.wikipedia.org/wiki/History_of_the_Encyclop%C3%A6dia_Britannica.

This Wikipedia entry was actually really helpful for me to be able to find out the “History of the Encyclopedia Britannica.” When I tried to go any other place, I seemed to always end up finding websites from Britannica about history, and not the actual history of Britannica. This source told me all of the informa-tion I needed to know about Britannica’s history. However, I could not find anything about the typeface used in Britannica. I had to determine that information on my own. It allowed me to understand the background behind the Encyclopedia Britannica so that I understood what it actually was and what it entailed. It allowed me to understand how it was created and elaborated on what the timeline offered. If I had more time I would have included the more in depth infor-mation. Once again, it also provided good pictures to go off of for the Britannica, but I did not end up using those images, so that did not really influence my design process.

Wikipedia. “Jimmy Wales.” http://en.wikipedia.org/wiki/Jimmy_Wales.

I used this Wikipedia source to ironically, find information on Wikipedia. This article told me all about Jimmy Wales who is the co-founder of the online encyclopedia Wikipedia. The article went on to tell me about his early life and where he got his education. It also told me about his career before he created Wikipedia. Then it told me about the origins of Wikipedia and how it came about. Almost near the end the article also mentioned how Wikipedia is managed and kept going. I also found out about Jimmy Wales’ personal life and his honors and awards he has received. I really found this article to be helpful, I discov-ered more than enough information on Wikipedia and its creator. The source also gave me plenty of pictures to go off of which was very helpful. However, I did not find any information on what typeface was used for Wikipedia. It said that a lot of different typefaces were used, but for the word WIKIPEDIA I had to figure out what typeface was used on my own.

ImagesWikipedia. “Encyclopedia.” http://en.wikipedia.org/wiki/Encyclopedia.

Huenemanniac. “Encyclopédie.” https://huenemanniac.wordpress.com/2015/03/13/encyclopedie/.

Metronimo. “Encyclopédie.” http://www.metronimo.com/fr/bibliotheque/encyclopedie-de-la-musique-et-dictionnaire-du-conservatoire-2/1467.htm.



Encyclopédie Méthodique (Beta Release). “Encyclopédie Par Ordre De Matieres.” http://artflsrv01.uchicago.edu/cgi-bin/philologic/getobject.pl?c.1:1:4.methodique0712.

Playbuzz. “Kanye West or Aristotle? Who Said This Super Smart Quote?” http://www.playbuzz.com/katelynw11/kanye-west-or-aristotle-who-said-this-super-smart-quote.

Roger Pearse. “The manuscripts of Pliny the Elder’s ‘Natural History.’” http://www.roger-pearse.com/weblog/2013/06/22/the-manuscripts-of-pliny-the-elders-nat-ural-history/

A Brief History of Natural History. “The Medieval Tradition.” http://net.lib.byu.edu/scm/naturalhistory/medieval.html.

Smithsonian Libraries. “Voyages: A Smithsonian Libraries Exhibition.” http://www.sil.si.edu/Exhibitions/Voyages/all-land-and-sea.htm.

e-codices. “Isidore of Seville, Etymologiae.” http://www.e-codices.unifr.ch/en/fmb/cb-0092/115r.

Wikimedia Commons. “File: Roger Bacon. Stipple engraving.” http://commons.wikimedia.org/wiki/File:Roger_Bacon._Stipple_engraving._Wellcome_V0000286.jpg.

Open Library. “Un fragment inédit de l’Opus tertium de Roger Bacon.” https://openlibrary.org/works/OL15848202W/Un_fragment_in%C3%A9dit_de_l’Opus_tertium_de_Roger_Bacon.

“Bacon, Roger. Opus Majus.” http://www.kanazawa-it.ac.jp/dawn/173301.html.

The Return of Native Nordic Fauna. “The article writer’s craft.” http://dolly.jorgensenweb.net/nordicnature/?p=1077.

Wikipedia. “Brunetto Latini.” http://ro.wikipedia.org/wiki/Brunetto_Latini.

“Encyclopedia Britannica 2015 Ultimate Edition pour MAC.” http://www.t411.io/torrents/encyclopaedia-britannica-2015-ultimate-edition-pour-mac

The Best Daily Posts. “Wikipedia Book: Thickest Book in The World.” http://best-posts.com/?p=51772#sthash.K9tPEYfd.dpbs.

Wikimedia Commons. “File: Wikipedia.” http://commons.wikimedia.org/wiki/File:Wikipedia-logo-v2-en.svg.

Wikipedia. “Opus Majuspus tertium de Roger Bacon.” http://en.wikipedia.org/wiki/Opus_Majuspus_tertium_de_Roger_Bacon.

Wikipedia. “Brunetto Latini.” http://it.wikipedia.org/wiki/Brunetto_Latini.

Pinterest. https://www.pinterest.com/pin/486177722245545508/.

Wikipedia. “Denis Diderot.” http://en.wikipedia.org/wiki/Denis_Diderot.

TYPOGRAPHYAND

THE ROAD SIGN

The Lincoln Highway

Eisenhower Interstate System

Highway Gothic

Clearview

Main Points

The lincoln Highway

1913The Lincoln Highway is the oldest high-way bulit in the United States. It was built in 1913 by the influence of Carl G. Fisher. The highway was also known as Route 66 and present day is known as I-80 and I-95.

700 CitiesCoast to coast from New York to California

Dwight D. EisenhowerInterstate Highway System

Budget of $26 billionCompleted after 35 yearsFinal section through Colorado CanyonEnd up costing $114 billion46,000 miles long

1956"Together, the united forces of our com-munication and transportation sys-tems are dynamic elements in the very name we bear - United States. Without them, we would be a mere alliance of many separate parts."

-Dwight D. Eisenhower

Highway Gothic

Offical names were “FHWA Series-B” and

so on. Styles vary between

amount of space be-tween letter and width

Wider the font the easier to read from a

distance

1966-1977 GothicSpacing values into a limited number of

codes

Software puts the every character into

bounding boxes and asigns a fixed value

Each character will have some amount of

white space all around letter

Updating Standard Gothic

The Spacing Tables shown on the right shows the actual width of each letter with the space to the left and to the right of each letter. All of the dimensions are based upon an upper case letter height 4” and the lower case letter height which is 2.9” from the baseline. Height of round letter height is 3”. The round letters extend alit-tle below the baseline and also above the x-height of both upper and lower case.

The Series-E modified Highway Gothic version is the most commonly used in the series. The majority of signs on free-ways and expressways today will most likely be in the Series-E Modified version. The reason it is called ‘modified’ is because the letter stroke, which refersto the width of lines, are modified to be 20% of the letter height of Series-E.

Highway Gothic E-modified

Clearview

2004

The font Clearview was grantedapproval from the Federal Highway As-sociation to be used on positive contrast signs. The sans-seif font was literally cre-ated for the function of its name- a clearer view of the readability of road signs. Don Meeker and James Montalbano spent years developing this typeface for road signs that would be more legible in both day and night time. The team behind the fonts’ development also included percep-tual psychologists, human factors scien-tists, and highway engineers. They desired to create a font that was simple but still had character. They reduced the irradia-tion effects of retro-reflective sign materi-als, created larger counter spaces within the letters, and used a higher x-height.

E-MODIFIED PANEL IN UPPER LEFT. CLEARVIEWHWY 5-W AND 5-B IN THE MIDDLE AND LOWER LEFT POSI-TIONS RESPECTIVELY. CLEARVIEWHWY 3-W AND 3-B IN MIDDLE AND LOWER RIGHT POSITIONS RESPEC-TIVELY.

CLEARVIEW-BOLD (LEFT POSITION, ORIGINAL VERSION OF TYPEFACE) VS HIGHWAY GOTHIC SERIES E-MODIFIED (RIGHT)

Clearview Design

Clearview lowercase is taller , so the in-terior shapes of the letters are more open to allow the clear definition of each letter. The letterspacing is de-signed to accommodate to older drivers.

The weight of each is specified with two versions which are one for the use in postive contrast, and one for the use of negative contrast. The negative contrast ver-sion is optically adjusted to appear the same weight as the positive version which is slightly heavier stroke width.

The team designing this typeface mixed typefaces that were similar to FHWA Standard Alphabets, Series D and Se-ries E-modified. The letterforms were de-signed using proportional attributes to aid in viewing from a distance. Designers took special interest in lowercase letters “a,e, and s,” the design of the counters, the rela-tionship of ascender to the lowercase “x”.

EXPERIMENT DEVELOPED TO TEST SUBJECTS SPEED OF RECOGNITION. TEST WAS DESIGNED TO REDUCE THE NUMBER OF VARIABLES NEEDED IN AN ACTUAL FIELD TEST ENVIRONMENT.

SUBJECTS IN AUTOMOBILE RECORDING DISTANCE AT WHICH TEST WORDS BECOME LEGIBLE ON TEST TRACK.

THE EFFECTS OF NIGHT BRIGHTNESS MATERIALS ON LEGIBILITY DURING NIGHTIME VIEWING.

TESTING FOR MAXIMUM LEGIBILITY BY INCREASING OR DECREASING LETTERSPACE.

Pennsylvania was one of the first states to willingly adopt the new typeface since it isn’t yet mandatory for states to change their signs to the Clearview-Bold typeface. The original legibility study was conduct-ed by the Pennsylvania Transportation Institute. The results found that Clear-view-Bold actually improved the reading distance of nighttime drivers by up to 16% compared to Highway Gothic E-modified.

If drivers were traveling at 45 mph that translated to 84 additional feet of read-ing distance. This gives a driver signifi-cantly more time to comprehend and re-act to the information they are reading.

In the same study by the Pennsylvania Transportation Institute they also com-pared Clearview-Condensed and High-way’s Series D all-upper-case typeface. In order to make Clearview-Condensed have an equal overall footprint as Se-ries-D they had to increase it by 12%. Again they tested for reading accuracy, viewing distance, and reaction time. This time there was at least a minimum of a 14% increase in recognition and in some cases up to a 29% increase, with the greatest increases found in elderly drivers.

As of 2013, 20 to 30 states have adopted the Clearview Font. Some states which include:

Texas (statewide)PennsylvaniaBritish ColumbiaToronto (older version)Yukonother Canadian municipalities

It may take years for everyone to adopt the typeface Clearview. It is the states decision if they want to do so, and the states must re-quest interim approval from the Federal Highway Administration before doing so.

Annotated BibliographyAdcSTUDIO. “What Is ClearviewHWY?” ClearviewHwy. Terminal Design Inc., n.d. Web. 23 Apr. 2015.

I used this website a lot during my research on the topic of the Clearview font. In my project I used information per-taining to how Clearview enhancing your legibility, improves recognition distance/reaction time, reduced halation, and many more things. I also used information pertaining to the letterform design. I talked about how the lowercase is taller so the interior shapes of the letters are more open to allow the clear definition of each letter. I also used infor-mation on how the team went about designing the new and improved highway typeface. I talked about how they mixed typefaces and how they took special interest in certain characters because of their counters, ascenders, and descenders. Lastly, I used a lot of imagery form this website to use in my presentation. This website had great im-ages that showcased the in depth research and testing they did to fully make sure the typeface would work on the roads.

Coles, Stephen, Caren Litherland, and Chris Hamamoto. “Clearview: A New Typeface for US Highways.” Typgraphi-ca. FontShop, n.d. Web. 23 Apr. 2015.

In my research presentation over typography and the road sign I used this website which is kind of an entry site that this company writes in every month. On October 27, 2004 they talked about the font Clearview. In this article they discussed how clearview is a new typeface for the United States Highways. They talked about how the signs will become more legible and that the US Federal Government finally has given full approval of Clearview to be used on Federal roads. In my presentation a used some information at the end about which states have already adopted to the Clearview as their Federal road signs font. Pennysylvania would be one of the greatest contributors to exercising the font first. As of 2013, 20 t0 30 states have adopted the Clearview typeface. Some states which include Texas, Pennsylvania, British Columbia, Toronto, Yukon, and other Canadian states.

Highway System. Dept. of Global Studies & Geography, 1998. Web. 23 Apr. 2015.

While researching about the highway systems I came across this website that started talking about the first highway system there was which I am assuming was the Lincoln highway, but they didn’t mention the name. In my presen-tation I talked out loud about how the United States sent army trucks all the way across the nation to test out the roadways to make sure they were safe enough for people to drive on. It took them 62 days to go all the way across the nation. I thought that that was an interesting fact to include into my presentation. It interested me that it took that long to go all the way across the nation.

History.com Staff. “The Interstate Highway System.” History.com. A&E Networks, 2010. Web. 23 Apr. 2015.

In my research presentation about Typography and the Road sign I go into detail about how President Dwight D. Eisenhower who signed the Federal Aid Highway Act in 1956 during his presidency. He had a plan to expand the na-tions interstate system. He had an estimated budget of $ 26 billion but it ended up being around $114 billion when finished. Most of the things I included in my presentation from this website were the straight factual numbers that were give. In the history.com website there was a lot of information about the interstate highway system and how many things happened before, during, and after the interstate was finished. I didn’t include much from this website but it did give me the understanding of what all went on during this time and how much impact the interstate will soon have on typography and the expansion of the road signs.

Moeur, Richard. “Standard Sign Typefaces.” Manual of Traffic Signs. Federal Highway Administration, n.d. Web. 24 Apr. 2015.

The trafficsigh.us is one of the websites that I used the most during this presentation. The website went through the Standard Sign Typefaces used for the highway sign in the US which are defined in the Standard Alphabets for Traf-fic Control Devices published by the Federal Highway Administration. I included in my presentation that the High-way Gothic typeface is a sans serif font, which was created by Ted Forbes. Some information that I pulled from this website was the six fonts from the series “Highway Gothic”. The website showed a graphic which I included in my presentation about the different FHWA series B-F. I also pulled some information about the variations of styles, which are created by the amount of white space between each letter and the actual width of each letter.

Weingroff, Richard. “Highway History.” The Lincoln Highway. U.S Department of Transportation, n.d. Web. 23 Apr. 2015.

The beginning of my presentation about Typography and the Road Sign I wanted to start off with how we even have road signs in the first place. We wouldn’t have road signs if the Lincoln highway were never built. When researching the Lincoln Highway I came across the U.S Department of Transportation. This website gave me tremendous detail about a lot of the roadways created at this time. In my presentation I included when the highway was built which was in 1913. I talked about how it passed through 700 cities and towns and how successful it was for the government, businesses’, and people. The Lincoln highway inspired the rest of the roadways to come after it was built which helps me build up into my next slides of my presentation.

Standard Alphabets for Traffic Control Devices. Sydney: National Association of Australian State Road Authorities, 1988. Federal Highway Administration. Web. 23 Apr. 2015.

When using this website it took me to a link an interactive pdf. This pdf was the Standard Alphabets For Traffic Con-trol Devices. I pulled a lot of information and graphic from this pdf as well. Some information that I pulled was FHWA came up with a procedure to convert spacing values into limited codes. Then after awhile software industries specify the fonts to assume that every character will be positioned with a bounding box and it will be assigned a fixed value. I also pulled some images that were showing the dissecting and distributing of space values assigned to each char-acter. This method provides a more even flow of black to white shapes which helps increase readability. Then lastly I pulled information for my presentation about how Highway Gothic E modified was the most commonly used in the series.

Rodrigue, Jean-Paul, Dr. “The Interstate Highway System.” The Interstate

When researching the Interstate Highway System I came across this website which talked about the growth of the interstate system over time. One fact that I pulled from this website I thought was interesting was in 1919, the United States sent army trucks on a journey across the United States, to test the roads for efficiency and to see if they were safe enough for citizens. It took the army trucks 62 days to go across the nation. I included this because I thought it was interesting how long it took them to go that far. Later on in the article it goes into detail about Dwight D. Eisen-hower’s Interstate Highway System and how much it changed the United States. Without the highway system the road signs wouldn’t exist or wouldn’t be as developed.

Weingroff, Richard. “Summer 1996Vol. 60· No. 1.” Federal-Aid Highway Act of 1956: Creating the Interstate System. U.S Department of Transportation, n.d. Web. 23 Apr. 2015.

Again when researching about the Interstate System, I came across on one of the same websites are before the Federal- Aid Highway Act of 1956: Creating the Interstate System. The part from this website that I used was a quote that was said by Dwight D. Eisenhower. The quote was, “Together, the united forces of our communication and transportation systems are dynamic elements in the very name we bear - United States. Without them, we would be a mere alliance of many separate parts.” I thought that this was a fitting quote for my presentation be-cause I think that it is very impactful and wise words of President Eisenhower. Without the transportation system we wouldn’t be who we are today. We wouldn’t be about to communicate as freely as we do and we wouldn’t be as united and whole as we are. As he said we would be an alliance but we would be separate parts because without the interstate system we are disconnected.

Yaffa, Joshua. “The Road to Clarity.” The New York Times. The New York Times, 11 Aug. 2007. Web. 23 Apr. 2015.

In The New York Times website there was a magazine article published in August of 2007 talking about the Road to Clarity. This article began to talk about a story of someone asking an older lady to read the sign, which she usu-ally could not. But this time she could read it because it was Clearview instead of Highway Gothic. They describe Clearview as lightness, a noticeable crispness to the letters. I pulled some information from this article that included when the Federal Highway Administration granted Clearview interim approval in 2004, meaning the states were free to begin using Clearview on their road signs. I also included that 20 to 30 States were using Clearview already. Lastly the New York Times website had some good pictures of Clearview used in signage, so I took some of those picture and integrated them into my presentation.

Evolution of the Typewriter

Hazel A. FloodSeventy-Five Years

of Typewriting

Graduate ThesisFor the Degree of Master of Arts

Department of Secondary EducationLincoln, Nebraska

1943

Invention

“An artificial ma hine or method for the impressing or transcribing of letters

singly or progressively one after another.”

Henry Mill

“I have just got my second machine into operation and this is the � rst specimen I

send you except a few lined I printed to regulate the

machine.”

William A. Burt

• Letter and line spacing key• Paper feeding device• A line signal bell• Carry type bars in a basket

Charles ThurberPatent on

August 26, 1845

C. Latham Sholes

Father of the Typewriter

Coined the term “Typewriter”

Improvements

“The typewriter made its debut at the Centennial Exposition at

Philadelphia in 1876 where it was viewed by thousands for the first

time. Samples of typewritten work were broadcast throughout the

world by visitors who paid 25 cents to have a brief note typed to mail to

friends or relatives at home.”

Mark Twain

Typography

“It is a simple, cheap, and pretty machine, for

printing letters.”

Joseph Moore

Bliven, Bruce Jr. The Wonderful Writing Machine. New York: Random House, 1954. Print.

Flood, Hazel A. Seventy-Five Years of Typewriting, A Thesis. 1943. Print.

“Blickensderfer Typewriters.” The Stamford Historical Society, Blickensderfer Manufacturing Co., The First Electric Typewriter. Stamford Historical Society. 2009. Web. 25 Apr. 2015.

Zellers, John Adam. The Typewriter; a short history, on its 75th Anniversary. Newcomen Society, American Branch. 1948. Print.

Cothran, Ann. Mason, George E. The Typewriter: Time-tested Tool for Teaching Reading and Writing. The University of

Chicago. 1978. Print.

Abraham, Terry. Charles Thurber: Typewriter Inventor. Society for the History of Technology. 1980. Print.

Current, Richard N. The Original Typewriter Enterprise 1867-1873. Wisconsin Historical Society. 2006. Print.

Nelson, Ryan Gerald. Typewriter Typefaces. 23 Mar. 2008. Web. 25 Apr. 2015.

IBM Office Products Division. “The ypewriter: an informational history.” Aug. 1977.

“Why Typewriters?” The Virtual Typewriter Museum. 2009. Web. 25 Apr.

Bibliography

TYPOGRAPHY IN FILM

SHAWNEE JOHNS PRESENTS

Begining with Silent Films

Photoplay (Samuel Welo’s Studio, 1927)

Pastel (BB&S, 1892)

National Old Styel (ATF, 1916)

TYPES USED IN THE 1920’S

COLORED MOVIES

“A History of Graphic Design: Chapter 39; A History of Film Title Sequence.” A History of Graphic Design: Chapter 39; A History of Film Title Sequence. N.p., n.d. Web. 27 Apr. 2015.This article really helped with sequences ranging from the early 1900s to mid 1900s. I used information about the first colored films and how white type on a black background became more popular.

“The Art Of Film Title Design Throughout Cinema History - Smashing Magazine.” Smashing Magazine. N.p., 03 Oct. 2010. Web. 27 Apr. 2015.The article had a lot of information about title sequences throughout time. It had named many of the typefaces used and the history behind them. The article made reference to Saul Bass, Woody Allen and many great film designers.

“Art of the Title.” Art of the Title RSS. N.p., n.d. Web. 27 Apr. 2015.This site had many great film introductions. I looked at mostly the ones from Saul Bass especially The Man with the Golden Arm. All of Saul Bass’s work is very iconic and still used today. In the title sequence for the Man with the Golden Arm, his is one of the first people to design the sequence after the music. It’s still is in black and white, but it has techniques that are still used today.

Bordwell, David, Janet Staiger, and Kristin Thompson. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. New York: Colum-bia U, 1985. Print.The Classical Hollywood Cinema describe film production and style up to the 1960s. It talks about how obvious cinema was during this time. There are some interesting facts abut narration in films as well.

“Font Spotting the.” Typographica RSS. N.p., 31 Mar. 2006. Web. 27 Apr. 2015.This site has almost all of the fonts from the movie Thank you for Smoking. There are wide range and most are serif fonts. The title sequence was made too look like different kinds of font on cigarette cartons.

Hostetler, Soo C. Integrating Typography and Motion in Visual Communication. N.p.: n.p., n.d. Print.This dissertation had many facts about how type should be used on the screen. They are many theories and perspective to take into account. An example of one point perspective can be found when watching the Star Wars films. In the beginning, the text travels back into space cause it to look like it’s going back to one point, hence one point perspective.

Las-Casas, Luiz Fernando Luzzi. Cinedesign Typography and Graphic Design in Motion Pictures ; the AMPAS Awards, 1927 to 2004, Best Pictures. N.p.: n.p., n.d. Print.He talks about space affect how the text is perceived. Color is also involved. There’s a mention to early 20s movies.

Öz, Hatice, Dr. DYNAMIC TYPOGRAPHY IN SCREEN DESIGN. N.p.: n.p., n.d. Print.The dissertation talks about what kind of type was used in films. It also talks about what colors are best read on the screen and how the surface responds to text as well. Content also plays a large role in how the text looks.

“Typography And Titles in Film | Film Shortage.” Film Shortage. N.p., 14 May 2013. Web. 27 Apr. 2015.For this site I used the video that was incorporated. It has a variety of title sequences starting with silent film and escalating to today’s film. There are several quite famous ones that are show such as Man with the Golden Arm by Saul Bass, Seven, and Catch Me if You Can to name a few.

ANOTATED BIBLIOGRAPHY

Typography in Film Title Sequence Design. N.p.: Digital Repository @ Iowa State U, 2008. Print.Typography in Film Title Sequence Design by Li Yu from Iowa State University Talks mostly about the film styles themselves. I leaned that credit cards and interfiles were originally used for conveying dialogue. Title sequences didn’t appear till the 1920s. The cards were hand made and incorporat-ed into the movie. The cards were usually white letter on a black background. Saul Bass was a huge contributor to the film community. he turned title sequence design into an art form that was able to stand on its own.

“Typotheque: Taking Credit: Film Title Sequences, 1955-1965 / 1 Contents by Emily King.” Typotheque: Taking Credit: Film Title Sequences, 1955-1965 / 1 Contents by Emily King. N.p., n.d. Web. 27 Apr. 2015.Taking Credit: Film title sequences, 195-1965 by Emily King is a a disseration for the V&A/RCA M.A. Cours in the History of Design. The information I have gotten from it was mostly from the introduction paragraph. It discusses sequences from the 1920’s and 30s and where modern design’s struc-ture was founded. It has a vague reference to the movie The Man with the Golden Arm.

MOVIES & TYPOGRAPHY

BY: OLIVIA KONERT

Narrative Typography • related to screenplay and art direction• part of a movie’s visual narrative • tells stories & takes part in the action • sometimes written directly on the screen • sets the sceen & plot

Informational Typography • movie titles• identity• art & design• credits

Top 10 1. Seven 2. Vertigo 3. Interstellar JCVD 4. Lord of the Rings 5. Catch Me if You Can 6. Napoleon Dynamite 7. Juno 8. A Hard Day’s Night 9. The Girl With the Dragon Tattoo 10. The Shining

movie sequences

Title Designer: Kyle Cooper

Director: David Fincher

Font: Handwritten Type & Helvetica se7en

SE7EN

VERTIGOTitle Designer: Saul Bass

Director: Alfred Hitchcock

Font: Hitchcock & Clarendon, Trade Gothic

Bass fashioned title sequences into an art, creating in some cases, like Vertigo, a mini-film within a film. His graphic compositions in movement function as a prologue to the mov-ie – setting the tone, providing the mood and foreshadowing the action.”

— Martin Scorsese

Helvetica

Trajan

Avenir

Moving Type• Readability • Viewing• Use

Yesterday An impoverished young mother with few creature comforsts but an unbreakable spirit determines to see that her growing daughter receives an education after suffering a crippling setback in this affecting drama. Yesterday’s family is poor, and despite the daily toil suffered by her hus-band in the mines of Johannesburg she still manages to maintain a bright outlook on life thanks to her energetic seven-year-old daughter, Beatuy. Upon falling ill, Yesterday is diagnosed with AIDS and her already harsh life appears to take a turn for the worse. Though Yesterday herself never received an education, the revelation of her declining condition inspires the young mother to cling to life so that she may see her growing daugh-er attend her first day of classes and die knowing that there is hope for a better life.

Yesterday An impoverished young mother with few creature com-forsts but an unbreakable spirit determines to see that her growing daughter receives an education after suf-fering a crippling setback in this affecting drama. Yester-day’s family is poor, and despite the daily toil suffered by her husband in the mines of Johannesburg she still manages to maintain a bright outlook on life thanks to her energetic seven-year-old daughter, Beatuy. Upon fall-ing ill, Yesterday is diagnosed with AIDS and her already harsh life appears to take a turn for the worse. Though Yesterday herself never received an education, the rev-elation of her declining condition inspires the young mother to cling to life so that she may see her growing daugher attend her first day of classes and die knowing that there is hope for a better life.

Typography on Movie Choice

“Art of the Title.” Art of the Title RSS. Web. 27 Apr. 2015. <http://www.artofthetitle.com>.This website was very helpful on doing research on title sequences. It gave many examples of famous title sequences including the famous movie “Seven”. It provided information on how the sequence was made by director Kyle Cooper. It also shows photographs of clippings of the sketches on the sequence, how it was drawn, and how the font of the text in the sequence came to be. It was interesting to learn that the font they used was a mix of Helvetica and hand drawn type. Kyle Cooper gives information on the computer graphics of the title sequence and how technology was so important in the making of the title sequence. This website also provided the actual title sequence to watch which was very helpful because I got to include it into my presentation for the class to watch and see all these neat things Kyle Cooper thought of come together.

“Cinedesign: Typography in Motion Pictures.” 2006. Web. 27 Apr. 2015. <http://infodesign.emnuvens.com.br/public/journals/1/No.1Vol.4-2007/ID_v4_n1_2007_12_19_Las_Casas.pdf>.This was an article written on the concept and elements of cinedesign and the typography used in motion pictures. I found this article to be very helpful because the author first starts out with how Graphic Design and Cinema coincide and how typography plays a huge part in that. The two topics I found most interesting and learned about were two great typographic manifestations of graphic design including Narrative Typography and Informational Typography. I learned there was a huge difference between them. Narrative Typography is more setting the mood in the movie and Informational Typography is the movie title, sequences, and credits. It gave many examples and made clear how important Information Type is and how it creates the identity of the movie.

“Does Ugliness Affect Judgment? The Effect of Typography on Movie Choice.” 2010. Web. 27 Apr. 2015. <http://www.psych.nyu.edu/pelli/pubs/subburamu2010intel.pdf>.This article titled, “Does Ugliness Affect Judgement” was a very interesting article written by a student, Sushi Subburamu. It provided me information on the beauty of type and just how important it is to choose which typeface to use in cinema. The effect of typography on the movie is critical and conveys meaning to the audience watching the movie. I learned that if affects the viewer’s perception of the movie. The author performed a study where he/she put in a ugly type face like Blackmoor into a movie and than inserted a common typeface like Times New Roman font and saw if it impacted the movie ratings. They found that it did impact the viewers and the ugly font actually decreased the movie ratings. An interesting quote that was in this article that I agreed with was, Type should be“simple, legible, quiet, plain, A joy alike to the eye and brain.” This article was very helpful in conducting my presentation on choosing type in the movie industry.

“Fonts in Film.” Http://ninabrowndesign.com/. 6 Dec. 2011. Web. 27 Apr. 2015. On this website, the author provided information on typefaces used in movie posters. I learned the different design function and origins of different type including Franklin Gothic, Avenir, Baskerville, and finally Helvetica. The two I concentrated on most were Helvetica and Avenir because I found those two fonts to be most common in the movie industry of posters. I learned that Avenir is commonly used because it is so so legible but has such an elegance to it. It was designed by Adrian Frutiger who also designed Univers and Fruiger. The website gave many examples of movies in today’s world that have used Avenir as their font on their movie poster. Helvetica, like Avenir, is also very easy to read and is commonly used for that feature. It also comes in a variety of weights, which is great for graphic designers creating the poster.

“Geometric Fonts.” - Linotype Font Feature. Web. 27 Apr. 2015. <http://www.linotype.com/3396/geometricfonts.html>.The website, Linotype, was very helpful for it’s information in many broad topics. I mostly used the Font Magazine feature on the website. It contributed to my study of what fonts are used in films and how they convey the mood of the film. It listed several fonts being used in different categories including, “Movies 2013, Oscar-awarded movies, Movies 2010 and all the way back through the year of 2003, and of course Classics. The article, “Oscar-winning Movie Fonts 2015: The Typefaces on the movie posters” stated many films and explained why the graphic designer choose the fonts they did to put on the posters. I especially loved learning about the movie poster of the famous film “Interstellar”. It is such a popular movie in 2015 and to learn the different type-faces the designer used for the poster was quite intriguing.

“Google Books.” Google Books. Pao & Paws and Long Sea, 2006. Web. 27 Apr. 2015. <https://books.google.com/books?hl=en&lr=&id=zUTGT5DuCK4C&oi=fnd&pg=PA7&dq=avenir typeface&ots=S-RaZKP_7L5&sig=EdAYQnLvTejrq1bTuqV8KHkHP4I#v=onepage&q=avenir typeface&f=false>.This book taught me a lot of information on 30 different typefaces. I choose to look at Avenir more carefully. It was stated to be the most useful and functional fonts used today. It is commonly used in cinemas because the font is said to be very attractive and has the ability to be rigorous but softer than Frutiger’s other type-faces, Univers and Frutiger. The only downfall of the font Avenir that I learned was that the font doesn’t have as an extensive list of weights as Helvetica. It only has six basic weights.

“Helvetica - Gary Hustwit.” Gary Hustwit Helvetica Category. Web. 27 Apr. 2015. <http://www.hustwit.com/category/helvetica/>.This website was designed and written by Gary Hustwist. I found a lot of the information he provided to be very advantageous. This website provided various and beneficial information on the type-face of Helvetica. Gary described the used of Helvetica, when and who it was made by, and how it’s impacted our world. I loved the website a lot because it provided the famous movie, Helvetica. Helveti-ca is a movie that is packed with information on the history of the type. It’s so interesting to see the ways Helvetica is used, especially in the New York subway system. Not only is it used in signs and billboards but it is very common in the movie industry and I loved learning about it more.

Bibliography

“The Simplicity of Helvetica.” Webdesigner Depot RSS. 20 Jan. 2010. Web. 27 Apr. 2015. <http://www.webdesignerdepot.com/2010/01/the-simplicity-of-helvetica/>This website like GaryHustwit’s website also explained Helvetica on a deeper level. Helvetica is so popular today in cinema so doing research on the actual font really helped me understand why it’s so commonly used. The website gave me a brief history but also explained the different variations Helvetica has to offer including Helvetica Light, Helvetica Compressed, Helvetica Textbook, and Neue Helvetica. It compared the font to Ariel and explained the differences in strokes for each character.

“Trajan | Typophile.” Trajan | Typophile. 9 Aug. 2005. Web. 27 Apr. 2015. <http://typophile.com/node/14496>.While doing research on this project, I came upon the font Trajan more than a handful of times. The amount of Trajan used in cinema is enormous. I felt it would be good to do some research on the font just like I did with Hel-vetica. Trajan was a typeface designed in 1989 by Carol Twombly. It was created originally for Adobe. The website also had an additional article on how Trajan is the fall back font for lazy movie marketers. I learned that most movies that include Trajan in their posters are in more of the dramatic category. The website also featured a short video that talks about the evolution of Trajan in movies and how much it really is used.

“Typography in Motion: A Framework of Moving Type Use.” 1 Oct. 2006. Web. 27 Apr. 2015. <https://opus.lib.uts.edu.au/research/bitstream/handle/10453/5748/2006005294.pdf>. This article was definitely one that really helped me learn about something I was not familiar with, moving type. This article covered different studies that have been done on moving type and how technology has came into play with typography. It informed me on the framework of moving type including the viewing of the text, how type enhances readability, and finally how does a combination of both. What I thought was very beneficial was the graph it provided. The graph showed many movies, poetry, and playwrights and each one had three categories by it: reading, viewing, and using. The movie, Seven, which I used in my presentation had more viewing than reading and using. It makes sense because “Seven” is more visually attractive than a lot of title sequences but it’s also hard to read and comprehend as well.

Yu, LI. “Typography in Film Title Sequence Design.” Google Books. 2008. Web. 27 Apr. 2015. <https://books.google.com/books?id=0-mfVA7LHugC&pg=PA1&lpg=PA1&dq=typography movie titles&source=bl&ots=pOjYlr-30CA&sig=8GbMr-fRvDUcbMbu8AeD0Pn1Qr4&hl=en&sa=X&ei=VV88Vbu4E5bsoASNxoDQBQ&ved=0CFgQ6AEwCTgU#v=onepage&q=typography movie titles&f=false>.This was another book I found that helped with my presentation significantly. It emphasized on the importance of movie sequences and titles and they often foreshadow the film the audience has yet to see. It gave me information on the aid of computer technology and how far title sequences have came since the silent film era. It also gave a review on the typography development, which was interesting to learn about and see it develop from movies like 1935’s Annie Oakley to today’s “Spiderman.” The website also had many screen shots of different title sequences. It’s always great to read about them but to see them and apply the text to the picture of the sequence is always great.

“ FILMdetailCinema | DVD | Blu-ray | VOD.” FILMdetail. 4 Apr. 2011. Web. 27 Apr. 2015. <http://www.filmdetail.com/2011/04/14/trajan-the-movie-font/>.This was a website that also helped me learn more about the font of Trajan. It gave a brief history of the font but the part I thought was most beneficial to me was the website giving me different examples of movies that used Trajan. I couldn’t believe how many popular ones there were including Titanic, A Series of Unfortunate Events, and This Is It. It provided a slideshow of different film posters typeset in Trajan. The website expressed the evo-lution of Trajan and how it became to be so popular. I learned because Titanic was such a huge success and had Trajan as their movie poster font, it may have spread to the font and it’s popularity as well. I learned that many politicians loved this font and it was often used in campaigns as well. It’s popular in books, novels, and in many areas outside of just cinema.

TYPOGRAPHY ON WATCHESBY PHA NGUYEN

Classification: Sans-Serif, DisplayFont:

$500-10,000

A. Lange & Söhne Grand Lange 1

$23,000

Classification: SerifFont: Times New Roman

A. Lange & Sohne Double Split

$126,800

Bovet Virtuoso Tourbillon

$2000

Classification: SerifFont: DIDOT

Bovet Automatiaua 7 Tours

$3000

Bovet Amadeo Fleurier 43

$4000

Breitling Navitimer Prix

$10,000

Classification: SerifFont: COPPERPLATE

Breitling Montbrillant Edition

$13,200

Breitling Avenger Blackbird

$4,000

David Yurman Classic 1957


David Yurman Ancestrale Tourbillon

$18,000

Classic 34mm Quartz Watch with Diamonds

$5,800

IWC Portuguese Chronograph Automatic

$6000


IWC Portuguese Tourbillon Hand-Wound Front IWC Portuguese Tourbillon Hand-Wound Back

$56,200

Classification: Glyphic serifFont: Friz Quadrata

Jaquet Droz Petite Heure Minute Relief Dragon

$67,900

Jaquet Droz Grande Seconde Circled Lady

$26,670

Omega Co-Axial Chronometer

Classification: Geometric sans-serifFont: FUTURA

$708,742

Omega Constellation Baguette

$29,000

Omega DeVille Chronograph Co-Axial Calibre 9301

Rolex Submariner

$5,8000

Classification: Slab-serifFont: CLARENDON

Rolex Oyster Perpetual Datejust II

$9000 $35,000

Rolex Sky Dweller

http://www.popularmechanics.com/technology/gear/g232/4298102/?slide=6

I used this website to search up the most famous watches in the world, and from that I picked some of the brand to continue on my research.

http://www.ablogtowatch.com/top-10-living-legend-watches-to-own/

This website was pretty useful, because the website is about the top living legend watches to own, and that helped me to narrow down a good amount of watch brands, like Omega, Rolex, and Breitling.

http://www.smashinglists.com/watch-brands/

This website was pretty much similar to the first two websites, and I realized that the two websites above has many luxury pock-et watch and normal watches, but on this website, it included both.

http://www.davidyurman.com/?ecid=cpc_Brand%20-%20US%20-%20Alone%20Exact_google_Brand%20-%20Alone%20Exact_david%20yur-man-e-c_0_0&gclid=Cj0KEQjwgoKqBRDt_IfLr8y1iMUBEiQA8Ua7XRsjpTx-rt-7pDoiwZSAbS-l9f9Wj2z9NwchvZiqlCuMaApgt8P8HAQ

David Yurman. This is the official website for David Yurman’s watches. I mainly used this website to get the image and the information about the watches. By the look of the website, it was mainly for female, because from my research, David Yurman and his wife made jeweleries before they went into watches, so they are more known for bracelets and jewelry rather than watches.

http://www.breitlingforbentley.com/en/

Breitling. For this website I really like what they done to pres-ent the watches, because the resolution and the close-ups are so good made it very interesting to look at.

http://www.omegawatches.com/

Omega. I was disappointed with this website, because it was very difficult to find the watches. The company has been around for a good amount of time, so it seems like they want to include all the models that they had, along side with their vast selection of jewelry. So in the end I didn’t use this website very much because of the complexity of it.

http://www.bovet.com/product/virtuoso/

Bovet. This website is amazing! It was beautifully designed! Even though I had to go through each of the folders to get to the watch I need, it was very nice to see the image so well presented.

http://www.jaquet-droz.com/en/collections

Jacquet Droz. I mainly used this website for the image and the title of the watches. And there was something really interesting about this brand. They had a section where they include videos of dancers who were inspired by the mechanical parts of the watch-es, and I thought it was super cool that they have something like that in a website.

http://www.iwc.com/en/collection/portugieser/?mid=793oa416957&mk-wid=s6xysqhwy_dc&pcrid=39611906627&kword=%2Biwc%20portuguese%20chrono%20automatic&match=b&plid=&utm_source=google&utm_medium=cp-c&utm_term=%2Biwc%20portuguese%20chrono%20automatic&utm_campaign=Por-tugieser_family-US-EN-WAT-BR&gclid=Cj0KEQjwgoKqBRDt_IfLr8y1iMUBEiQA-8Ua7XbjTtwo_qhoD45Sv0opMKrVC-zRBwliS-AkLdMV-sqcaAsrt8P8HAQ

IWC. This website incorporated lots of the characteristics of the other website, such as having videos, well presented pictures and info. Lastly easy to go through. For me the last part was very important, because I would like to see the watches well organized but at the same time you don’t have to go through many tabs to get there. Jacuet Droz for an example, they did a great job at that, and it would be super awesome to see other complex and high-end luxurious watche’s website do the same.

Bibliography

Renaissance Design

Presented by: James Lindsay IIIGraphic Design 223, Typography I

BeginningsMovable Type -Gutenberg

Gutenberg BibleMajor achievement of design and technology.

Double column design.

Early Print Design

Medieval Letterforms and Printer’s Marks

Letterpress Technology

Production involved many steps, car-bing, casting, cleaning letters, placing one after another.

Incunabula

Humanism

AdvancementsCutting, typecasting, printing,separate industries of work.

Cross country work, cast one place, print in another.

Decorations

Type DesignersJohannesGutenberg

Conrad Sweynheym

Arnold Pannartz

Nicolas Jenson

William Caxton

Geoffroy Tory

Aldus ManutiusErhard Ratdolt

Francesco daBolgna-Griffo

GutenbergPrinting press

Movable type

Gutenberg Bible

Sweynheym and Pannartz

Among the first printers, created what is considered the first “roman” faces.

JensonCreated legible, open, typefaces for easy reading.

Established wider letterforms, lighter tone, and texture of black strokes.

Trademark known for his printer’s mark.

Mark for the Society of Venetian Printers

“God Shall Reign Over Earth”

CaxtonRobust interpretations of type.

Learned printing trade on the Continent and returned to England to set up his shop.

The Recuyell of the Hisotryes of Troye

ToryHumanistic designs

Human body aspects of letterforms

Geometrical principles

ManutiusPublisher, printer

Octavo volume, pocket books

One-eighth the size of standard books

RatdoltEstablished border usage and decora-tive designs with wildflower and vines

Relief printing

Black and white patterns

Geometrical principles

GriffoBembo

Named after Cardinal Pietro Bembo

Worked with Manutius

Roman fonts

Notable Typefaces

Bembo

Garamond

Fraktur

Bembo

Old-style

Humanist

Designed by Griffo

1495

Garamond

Old-style

Designed by Garamond

1523

Fraktur

Blackletter

Designed by Scoensperger

1514

“Adobe Garamond.” Fonts.com. N.p., n.d. Web. 26 Apr. 2015. <http://www.fonts.com/font/ado-be/adobe-garamond>.I used this site to figure out some history behind the Garamond type-face since I used it for my presen-tation. From this site I was able to see who designed it, when it was designed, and so on.

“A Brief History of Typefaces.” (n.d.): n. pag. Thinkingwithtype.com. Thinking With Type. Web. 26 Apr. 2015. <http://www.thinking-withtype.com/misc/type_lecture/Type_Lecture.pdf>.I used this “website” which is ac-tually just a pdf, to help expand my knowledge on some of the events that occurred during the Renais-sance times, such as the Humanistic times. This site gave me some good information on Geoffroy Tory and explained a bit of the humanistic approach to type.

“ Counterspace Typography Time-line.” Counterspace Typography Timeline. N.p., n.d. Web. 26 Apr. 2015. <http://www.counterspace.us/typography/timeline/>.

I mainly used this website to look at the typographic timeline to see what all happened around my time period. There was some valuable informa-tion that I used there such as finding out when certain typefaces were de-veloped and when important works were released such as the 42-lined Bible.

Crisp, Denise Gonzales., William F. Temple, and Meredith Davis. Typog-raphy. New York: Thames & Hud-son, 2012. Print.I didn’t really use much out of this book, but some of the information on the artists that I looked up were quite helpful, even if it was a small bit of information.

Drucker, Johanna, and Emily Mc-Varish. Graphic Design History: A Critical Guide. 2nd ed. Upper Saddle River, NJ: Pearson Prentice Hall, 2009. Print.This book was my main source of information, it really helped explain a lot that went on during the Renais-sance for printing and typography, which was my main topic. I learned a lot about the development of printing and how graphic design

became a big part in the world, I like that they didn’t really go into how much the Renaissance had and instead focused heavily on the influ-ence that typography made during those times.

Kane, John. A Type Primer. 2nd ed. Upper Saddle River, NJ: Pren-tice-Hall, 2003. Print.The type primer was similar to my Typography book, it didn’t really have much on vast information, but it did provide me with a lot of small information here and there on cer-tain artists like Aldus Manutius.

“The Renaissance.” Wikipedia. Wikimedia Foundation, n.d. Web. 26 Apr. 2015. <http://en.wikipedia.org/wiki/The_Renaissance>.I didn’t really use much from the Wikipedia, I wanted to stay away from using Wiki as much as possi-ble. However, I used this site just to update me a little bit on what all was going on culturally and to find out what else there was to offer during that time. I didn’t use much since it was on the other events besides typography.

“Typography of the Italian Renais-sance.” Typography of the Italian Renaissance. N.p., n.d. Web. 26 Apr. 2015. <http://www.csun.edu/~p-jd77408/DrD/Art461/LecturesAll/Lectures/lecture03a.html>.This website was really helpful to starting off my research as it told me some critical points and con-tributions that artists have made during the Renaissance. It also told me about the kinds of innovations and designs that occurred during that time, like how decorative borders of wildflowers and vines started to appear and how certain styles of typefaces came to be devel-oped. I like that this website didn’t really tell me much, but gave me in a sense, a blueprint, where to start off.

Bibliography

TYPOGRAPHYAND THE WEB

TYPOGRAPHY AND THE WEBBrief History

The Birth of Digital Type

Microsoft and Typography

Influence of Apple

Adobe and Typography

Google and Typography

BRIEFHISTORY1970s-1980s

BRIEF HISTORY1970s-1980s1970: International Typeface Corporation is founded by Edward Ronthaler, Aaron Burns and Herb Lubalin.

1971: Compugraphic’s first phototypesetters, the CompuWriter, allows operators to output text directly without the use of tape.

1972: ROLAND 800 is invented. This is the first sheet-fed offset press with an integrated ink control system.

1975: First laserprinters are invented and sold.

1971: CompuWriter

1972: ROLAND 800

1976: The Monotype Lasercomp is invented. This is the first system that comes with a Raster ImageProcessor (RIP). This allows us to create digital typefaces.

1976: Production of the Linotype hot metal composing machines comes to an end.

1977: The Compugraphic EditWriter 7500 is invented. This phototypeset-ter has a keyboard and a photo unit combined together to be used as one piece of equipment.

Mid-1980s: Personal computers be-come more affordable and popular.

1977: Compugraphic EditWriter

THE BIRTH OFDIGITAL TYPE

THE FIRSTDIGITAL TYPE FONTIn 1968 the first digital type font DigiGrotesk was designed by the Hell Design Studio. You could get this font in seven weight varieties from light to bold all in sans serif.

The first digital fonts started as bitmap fonts. Bitmap fonts are pixels that make up the outline of a letter in the form of small little boxes. These fonts were easy for computers to code and were fast and easy to use. However, these fonts were rasterized and could not be

changed in scale, unless you had one font saved as multiple fonts as different sizes.

Later after the bitmap fonts came vector fonts.These were outline fonts using instructions and mathematical formulas to describe each letter. This allowed the letter’s outline to be scaled to any size.

BITMAP FONT - VECTOR FONT

From the vector font came outline fonts and the Bézier curves. This kind of fontis smaller, and therefore faster toprocess. Letters would be outlined using the Bézier curve. This shape of theBézier curve is defined by anchor pointsset along the arc of letters.

OUTLINE FONTS ANDTHE BEZIER CURVE

OPENTYPEFrom Apple’s TrueType font format came the birth ofOpenType. OpenType is a font format developed by Microsoft and Adobe in 1997 as anextension of Apple’s TrueType.

Adobe and Microsoft are still updating and refining fonts. Every major font foundry and most minor font foundries are currently developing fonts in OpenType format.

MICROSOFT ANDTYPOGRAPHY

MICROSOFTAND TYPEMicrosoft has typography groups researching and developing fonts and font technologies. Microsoft was on of the first companies to develop a typography groups. They added these groups whenthey started to build software that required these new fonts.

Microsoft’s typography groups also help support the development of TrueType and OpenType fonts.

Microsoft Windows was one of the first softwares that required Microsoft to create typography groups. Win-dows needed bitmap fonts that were also printer-resi-dent fonts on screen. Originally Microsoft worked with Bitstream, but later licensed fonts from Bitstream and made significant changes

MICROSOFT WINDOWS

The first Windows user face font was “SysFixed,” which was included on Windows 1 and Windows 2. Windows 2 also added support for the proportional bitmap font system.

Later the bitmap fonts MS Sans Serif and MS Serif were created, these fonts showed the direction font was going, and that Apple’s TrueType outline font was the chosen font format.

As Microsoft grew, the typography groups turned into a service group for the company. Fonts are now pro-duced for Office, Windows CE, games, and all oth-er products. Microsoft now mostly relies on outside sources for their fonts.

Microsoft did have one prominent type designer come through the company, Vincent Connare, who designed Trebuchet and Comic Sans before leaving the company in 1999.

MICROSOFT FONTS TODAY

Trebuchet Comic Sans

INFLUENCE OF APPLE

DESKTOPPUBLISHINGREVOLUTIONThe Macintosh originally sold below Apple’s expectations.

Steve Jobs was ousted from the company in September 1985 due to the poor sales, and CEO John Sculley worked to improve the Macintosh.

Later in 1985, Apple introduced the world to an affordable laser printer along with Aldus Corporation PageMaker (which is the Macintosh’s first useful app).

This affordable laser printer saved the Macintosh by allowing small businesses and print shops to easily print without expensive lithographic processes.

Thus, began the Desktop Publication Revolution.

THE ONLINEAPPEARANCEOF APPLE

1996-Recent

Apple’s website has transformed into less. Showing that less is in fact more. Apple doesn’t want you to see everything at once. Their website is designed to make you stop and look through eachindividual product page.

Apple is very consistence, putsinformation where they want you to see it, and they use strong typography with product shots to grab your attention.

THE ONLINEAPPEARANCEOF APPLE

TYPOGRAPHYAND APPLEApple Keyboard: Univers 57 (Con-dense Oblique) was the typeface of choice on the Apply keyboard from 1984-2003, when it was then re-placed with VAG Rounded.

Apple iPod: Chicago was one of the original typefaces used for the Macintosh, so it traveled to be on the first generation iPod. However, the font later switched to Myriad.

“Think Different”: From 1984-2002 Apple used a modified version of ITC Garamond for it’s slogan “Think Different”

OS X: The original OX X Puma used a serif typeface, compared to the current OS X Snow Leopard, which uses a sans-serif font.

“It was the first computer with beautiful typography. If I had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts, and since Windows just copied the Mac, it’s likely that no personal computer would have them.”

STEVE JOBS, 2005

TRUETYPEThe Mac was superior for thetypefaces it rendered, but relied on hand-coded bitmap files. This put Apple at a disadvantage compared to Adobe’s PostScript outlinesbecause Adobe’s PostScript outlines would be scaled to any sizewithout pixilation.

This problem got Sampo Kaasila to write a new font format calledTrueType. However, when PostScript and TrueType went head-to-head TrueType lost, therefore distancing itself by working with Microsoft by licensing TrueType to Microsoft for use in Microsoft Windows.

ADOBE ANDTYPOGRAPHY

ADOBEJohn Warnock (bottom right) and Chuck Geschke (bottom left) worked together at Xerox, andbegan to develop a language called “Interpress” that was used to control Xerox laser printers. They later tried to turn this into a commercial product, failed, and went to go try it on their own.

Adobe was founded 1982 by John and Chuck. They thought at first they’d make a really powerfulprinter, but instead decided to develop tools for manufacturers to control the printers with.

In 1989 Adobe Originals program began. At this time publishing revolution had begun and designers were looking for high quality digital fonts. Not all fonts became Adobe Originals, Adobe picked timeless strong type designs that would be known for decades.

Some Notable Adobe Originals are: Myriad®, Minion®, Trajan®, Lithos®, and Adobe Garamond.

ADOBEORIGINALS

GOOGLE ANDTYPOGRAPHY

1995: Larry Page and Sergey Brin meet.

1996: Larry and Sergey begin creating a search engine called BackRub, which operated on Stanford servers for over a year, but eventually took up too much bandwidth.

1997: Google.com is registered as a domain with the mission to organize an infinite amount of information on the world wide web.

GOOGLEBACKGROUND

Google’s logo is based on the font, Catull BQ.

The only difference is the cross bar on the letter “e” no longer tapers at the end. Google set’s their logo apart from others by the use of color with ty-pography.

Is an interactive directory of free-hosted web fonts.It was launched in 2010, and then revamped in 2011. The font embed code is very simple and easy to use.

<link rel=”stylesheet” type=”text/css” href=”http://fonts.googleapis.com/css?family=Tangerine”>

GOOGLE FONTS

Google has a plugin, which allows you to use any Google Font for any text on existing website without writing a single line of code.

GOOGLE FONTPLUGIN

Google has created over 2,000 doodles for their homepage and around the world.

BIBLIOGRAPHYBosler, Denise. Mastering Type : The Essential Guide to Typography for Print and Web Design. Cincinnati, OH, USA: F+W Media, Inc., 2012. ProQuest ebrary. Web. 23 April 2015.

History. INVENTION OF THE PC. http://www.history.com/topics/inven-tions/invention-of-the-pc. Web. 23 Apr. 2015.Prepressure. http://www.prepressure.com/. Web. 23 Apr. 2015.

Design History. http://www.designhistory.org/Digital_Revolution_pages/EarlyDigType.html. Web. 23 Apr 2015.

Microsoft. Typography. https://www.microsoft.com/typography/AboutMST.mspx. Web. 23 Apr 2015.

Adobe. https://www.adobe.com. Web. 23 Apr 2015.

Apple Gazette. http://www.applegazette.com. Web. 23 Apr 2015.

Turnbull, Connor. “How Apple Has Influenced Web Design Over the Years”. Tuts+., 28 March 2011. Web. 23 April 2015.

Drucker, Johanna, and Emily McVarish. Graphic Design History A Criti-cal Guide. Boston: Pearson, 2013. Print.

Sydney RotthausGRPH223 Typography 1Professor: Stacy AsherSpring 2015

JOHNThe Development and Transformation of a

Man and a TypefaceBASKERVILLE

January

28 1706

January

8 1775

Sion Hill Court was the historic family seat of the Baskerville family from 1502 to 1760. John Baskerville, who owned the estate in the mid 1600s,

was reputed to have purchased the carved panelled dresser, now part of the entrance Hall and dining room within Sion House.

John Baskerville (1706-1755) is thought to have been born at Sion House.

Sion Hill CourtWolverly, Wocestershire, Village in Enlgand1728 - John Baskerville senior mortgaged the Wolverley estate.

1726Moved to Birmingham and worked as a writing master and letter cutter of gravestones.He owed much of his career to his beginnings. it was through his employer that he learned writing. Baskerville was illiterate but became very interested in calligraphy, and practised handwriting and inscription that was later echoed in strokes in his printed typeface.

A slate slab in Birmingham Central Library hidden away on the back of a pillar on the top floor contains various lettering.There are as yet, no known surviving examples of gravestones which were cut by Baskerville. It is plausible that the thin lines of Baskerville’s typeface came from the exigencies of lettering on stone.

Ornate Script

Roman

Blackletter

Italic Capitols

John began to experiment with japanning. This is how John aquired his fortune which allowed him to devoted his time and energy to printing and type.

1742 Applied for and was granted the first patent for japanning (no. 582).

Japanning is the application of black varnish to metal household objects

1738

John leased eight acres of land northeast of Birmingham where he built a house, ‘Easy Hill’ and workshops. He named it “Easy Hill,”

and built a mansion on the land at a cost of what would be millions of dollars today. It was his little Eden. Sarah Eaves came to live with

him as a housekeeper shortly after the purchase of Easy Hill, and for all intents and purposes, as a wife. They married in 1764, after her

estranged husband, a convicted forger, died.1791: ‘Easy Hill’ was burnt during the Priestley Riots.

1747

“Having been an early admirer of the beauty of letters, I became insensibly desirous of contributing to the perfection of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true proportion.” -Baskerville, published in preface of second book an edition of Milton, Anatomy of Type, pg. 185

“He has spared neither pains nor expense to bring them to the utmost pitch of perfection. The letters are cut with great daring and the italic is the best to be found in any English foudry, but the roman is alittle too wide.” -PierreSimon Fournier, said of Baskerville, Anatomy of Type, pg. 188

“Had I no other dependence than type founding and printing, I must starve.” -Baskerville wrote to Franklin in 1762, Anatomy of Type, pg 190

The Perfectionist

Baskerville set out to improve the printing process, from the presses he used to the paper and ink.Little development had occurred in the printing process since Gutenburg.

William Caslon showing type specimen to King Edward IV and his Queen

WIlliam Caslon fonts were the dominant force in English typography, but Baskerville considered that their effect was consistiently ruined by bad printing. It was essential to him that a print foundry had its

own printing press.

1750Baskerville began working as a printer and typefounder.

Ink Not unusual for one who was used to analyzing the quality and nature of black ink in the japanning trade, Baskerville was determined to produced ink that was blacker than what was currently available. He perfected his formula and then allowed the ink to stand for three years before using it.

PressAlhough his press, constructed from wood, followed the standard model

then employed by English printers, he invented two important changes in its

design. First, he made the bed and the platen of machined brass, one inch

thick. Next, instead of utilizing a soft packing, which would have produced

too deep an impression of his types, Baskerville, used a tympan of smooth vellum, packed with superfine cloth.

PaperThe paper for printing up to

Baskerville’s time was laid paper, in which the lines of the paper makers

mold produced vertical ribs on the sheet. Baskerville attempted to obtain a

smoother page by experimenting with the mold. The first use of it is on the

Georgics, a book colkected for both it’s typography and paper.

Laid Paper Mold

Resulting Quality of Paper

Baskerville attempted to obtain a smoother page

by experimenting with the mold. For a mold

he a obtained a woven screen, which produced

a new kind of paper lacking the laid lines.

Baskerville replaced the laid surface with

one consisting of a fine brass screen composed

of wires running in both directions, not

unlike a modern window screen. It has

since been called wove paper.

Not content even with this surface, though, Baskerville took the extra step of hot-pressing his paper between plates of heated copper, which gave the paper a much smoother—even glossy—finish.

BASKERVILLEThe Font

1757

Release of Baskerville FontIt took three years to complete, but it made such an impact that he was appointed printer to the

University of Cambridge the following year.

Baskerville directed his punchcutter, John

Handy, in the design of many typefaces.

long lower arm of E

g tail on lowercase

g does not close

swash-like tail of QQ

J well below baselineMany version feature a calligraphic J

Johnhigh crossbar and pointed apex of AA

top and bottom serifs on CCTT has wide arms

E

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890!@#$%^&*()_+?><”’/.,;ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890!@#$%^&*()_+?><”’/.,;ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890!@#$%^&*()_+?><”’/.,;ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz1234567890!@#$%^&*()_+?><”’/.,;

Italic

Bold

Roman

Transition

al

Italic Bold

One reason a typeface is considered a masterpiece is because the designer achived optical harmony in adhjusting the size and porportion of the parts not mathematically, but esthetically and perceptually. Baskerville is a typeface that is honored as a great tool of communication and work of art because a virtuoso designer poured heart, soul, and countless hours of work into creating harmounious relationships between letter forms.

-Texts on type: Critical Writings on Typography, pg 37

Baskerville was known as a writing master of his time.

INFLUENCE BYWilliam Caslon

Claude Garamond

OLD STYLE

INFLUENCE BY First TransitionalPhillipe GrandJean

Romains Du Roiperpendicular axis

flatter an

d sharper serifs

less bracketing

INFLUENCED BodoniDidot

ModernFonts

Baskerville’s edition of Virgil printed. This introduced Baskerville’s type, used a distinctive black ink and was the first to be printed on high quality, woven paper. It was a significant leap forward in typographic design and printing. It is a book collected for both it’s typography and paper.

1757

1758 First meeting between Benjamin

Franklin and Baskerville. They

were the same age, worked as printers

and radical thinkers. Franklin bought six

copies of Baskervilles first published book

Virgil.

1758

Despite many improvements to the printing process he was unable to profit from them. He was uable to compete with commercial book printers, his prices being two to threes times higher. A year later he

produced a folio bible printed for Cambridge University. Today this is considered one of the finest books not only in the Eighteenth century but in English printing since William Coxton invented the first English press,

five centuries ago. At the time it was not appreciated for it’s quality.

Baskerville’s folio B

ible printed.

1763

It was after the printing of his beautiful bible

Baskerville was convinced that his high quality of printing was merely a luxury and spent the

remainer of his life trying to sell his punch cuts,

matrices and the rest of his printing equipment.

He died in 1775in his “Easy Hill”

home.

Fours years after his death his widow was able to find

a purchaser, Caron de Beumarchais, a French

dramatist, who wanted the Baskerville equipment for printing an edition of the

works of Voltaire. When this work was off the press at Kehl, Germany, in 1789

Beaumarchais took the punches and matrices to

Paris, where he established a typefoundary. He died a

year later.

1789

The Baskerville punches then changed hands numerous times before eventually ending up at the Paris type foundary Bertrand in 1893. Their

exalted lineage at this time was unknown adn even if they had known it would not have made much of a difference to printers as classic

letterforms were not as appreciated at this time.

1893

At the turn of the century, the private press movement

created a great regeneration of the art of the printed book. There was a similar feeling of discontent with the quality of

books in the late 19th century as there was in other decorative

arts. Book production had become mechanised during the Victorian period (1837–1901). Producers of private

press books revived the craft of book making. They sourced

hand-made paper, high quality inks, bookbinding, and

book coverings were made in traditional vellum and has

elaborately tooled leather covers.

1900

The revival of the Baskerville type was prompted by the distinguished American Typographer , Bruce Rogers. While serving as advisor to Cambridge University press in 1917, Rogers discovered a specimen of Baskerville and traced it orgins to Fonderie Bertrand in France. When he became printing advisor to Harvard University Press, he reccommended the purchase and use of Baskrvilles types that had been cast from the original.

1919

1923

The type again became known when the Lanston Monotype Corporation of London began its program of reviving a number of

classic roman types. Baskerville was cut in 1923.

1926 Stempel typefoundary in Frankfurt, Germany, produced a copy, which was also used by German Linotype Company a year later.

1931

Mergenthaler Linotype in

England and the United States bourght out a

version in 1931.Intertype

Baskerville also became available

this year.

Book typographers rapidly made the

revival a resounding success, and they have continued to favor the

type and before long Baskerville became one of the most widely used

types.

Baskerville made its first appareance in the American Institute of Graphic Arts’ Fifty Books of the Year Exhibition in 1925 and it has been absent from the list only one year since (1927).

1925

Charles Peignot, representing the Paris type foundary Debern

et Peignot, the last commercial owner

of the historic font, returned the original

punches to English soil in 1953, making them

a gift to Cambridge University Press.

1953

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwxyz

Fry Baskerville, Baskerville Foundary

Baskerville

More dramatic line weight differences,

C does not have two serifs,

Q swash is varied

ggCCQQ 1768

Fry Baskerville was created by Isaac Moore in 1768, the version first issued by the Fry type foundry, established by the Fry family

after they succeeded in the chocolate business.

The most recent redesign

of Baskerville was published and designed

by Zuzana Licko in 1996,

and licensed by Emigre, a

typefoundry run by Licko and

husband Rudy VanderLans.

1996

Licko’s design is unorthodox and not a pure revival. In creating it, she was influenced by how it would be printed by contrast to printing in

Baskerville’s time: considering the flatness of offset lithography in com-parison to letterpress printing, and the resolution of set devices and on-

screen display.

The overall stroke weight of Mrs Eaves is considerably heavier than

most other revivals, countering the often anemic reproduction

of smaller point sizes in other digital revivals of Baskerville,

and restoring some of the feeling of letterpress printing’s

unpredictability. To compensate for this and create a brighter-

looking page, Licko lowered the x-height, reducing the amount of

space taken up by ink on the page

Timelesshttps://www.youtube.com/watch?v=6_dy_yMf0pE-

Lawson, Alexander. “Baskerville.” Anatomy of A Typeface. Boston: David R. Godine, 2005. 184-193. Print.I used the Anatomy of a typeface for details about Baskerville’s life, including information about japanning, type and process development, and for information about Baskervilles death and waht happened to his type after he died.

“Font Designer – Isaac Moore.” Isaac Moore. Web. 28 Apr. 2015. <http://www.linotype.com/497/isaacmoore.html>.I used this source for more inforamtion about Fry Baskerville.

Baines, Phil and Andrew Haslam. Type and Typography Second Edition. Pg. 92. Waston- Guptill Publications, New York. 2005.I uesd this source for an image of Baskervilles remaining punches and for information about his type punches.

Loxley, Simon. “The Maverick Tendency: The Type and Strange Afterlife of John Baskerville.” Type the Secret History of Letters. London: I.B. Tauris, 2004. 43-54. Print.I used this source for more detials about BAskerville’s life, afterlife, printing process development and type development.

“Timeline: John Baskerville.” The Typographic Hub. Dr Caroline Archer. Web. 26 Apr. 2015. <http://www.typographichub.org/baskerville-society/entry/time-line/>.I used this source for dates and a basic timeline for Baskervilles life.

Morris, Errol. “Hear, All Ye People; Hearken, O Earth (Part 2).” Opinionator Hear All Ye People Hearken O Earth Part 2 Comments. The New York Times, 9 Aug. 2012. Web. 28 Apr. 2015. <http://opinionator.blogs.nytimes.com/2012/08/09/hear-all-ye-people-hearken-o-earth-part-2/?_r=0>.I used this source for inforamtion about Easy Hill, Japanning, John’s relationship with Sarah Eaves.

“Check out This Property for Sale on Rightmove!” Rightmove.co.uk. Andrew Grant, 6 Nov. 2014. Web. 28 Apr. 2015. <http://www.rightmove.co.uk/property-for-sale/property-49031810.html>I used this source for information about John’s birth home.

Christensen, Thomas. “Typeface: Baskerville.” Typeface: Baskerville. The Typehead Chronicles: Baskerville. Web. 28 Apr. 2015. <http://www.rightreading.com/typehead/baskerville.htm>.I used this source for inforamtion about identifying font characteristics, japaning info and printing process innovation and the Mrs. Eaves typeface.

Bibliography Courtney Sehn

Typefaces, Cinema, and the Depiction of the

Future

Matthew StandleyGRPH 223

Spring 2015

Cinema has identifiable typographic trends when portraying the future and high technology. It also identifiably escapes those trends for artistic purposes.

In representing the future, most often geometric sans serif typefaces are used.

One of the most frequently used typefaces is the geometric sans serif Eurostile. This typeface, or variant fonts, can often be seen in title cards, posters, computer displays, signage, and credits.

The first stage of Eurostile’s production was in 1952, when the geometric sans serif Microgramma was developed. Microgramma was an uppercase only display font developed for the Italian type foundry Nebiolo by Alessandro Butti and Aldo Novarese

Microgramma itself has frequently been used in cinema. It is almost identical to Eurostile and difficult to differentiate at a casual glance. The most salient difference is flattened cruxes underneath the shoulders in letters like “M” and “N”.

Eurostile was created in 1962 by Aldo Novarese for Nebiolo. Eurostile was developed with the intention of being a symbol for modern times. The shapes were inspired by the lines of modern architecture and the outline of contemporary windows and television screens.

The typeface quickly became associated with the space program and high technology through its use in the movie “2001: A Space Odyssey” (1968) and the mission patches used on some of the Apollo space flights.

The typeface has been used extensively in cinema ever since. Some modern uses in cinema include signage in “Wall-E” (2008) and the “Star Trek” films (1979-2013).

Eurostile was very nearly the only typeface used in “Edge of Tomorrow” (2014) and “Moon” (2009).

An ancestor of Eurostile was the geometric sans serif typeface Bank Gothic developed by Morris Fuller Benton in 1930 for American Type Founders. Another uppercase only design, small caps were added during digitization in the 1980s.

The boxy, precise shape of Bank Gothic lends itself to fictional computer displays.

Typically, less stylized geometric sans serif typefaces are used for posters and title cards. Futura is seen in the posters for “Gravity” (2013), “Solaris” (2002) and “Alien” (1979). This early geometric sans serif was developed in 1927 and its long and even strokes suggest mechanical precision.

Futura (Heavy) is used for the notable gradual fade-in title card of “Alien”.

Gill Sans, developed by Eric Gill for Monotype in 1927, can be seen in the title cards for “Prometheus” (2012) and “Gattaca” (1997) and the poster for “Moon”

Gill Sans provides almost all the narrative text in “2001: A Space Odyssey”. The thoroughly British Gill Sans compliments the production, filmed in England with a British author, Arthur C. Clarke, and a noted anglophile American director, Stanley Kubrick.

“Alien” departed from genre conventions. Instead of a clean, idealized future setting, the spaceship used as the primary setting seems dirty and lived-in. The intention was to portray everyman working Joes in space. The typeface used for signage is dependable, everyday Helvetica.

Helvetica also appears for a closing title card and credits in “Robocop” (1987). This contrasts the opening title which features a stylized, metallic version of the typeface Orbitron.

The story of “Robocop” is a loyal civil servant exerting his humanity despite the dehumanizing strictures placed upon him. After he achieves this in the film, the final title card is Helvetica, a sans serif, civil service font with notable organic curves powering through a staid shape.

When used in futuristic science fiction serif typefaces are often hallmarks of basic humanity and identity overcoming the threat of technology.

“Gattaca” uses Baskerville, a Transitional typeface dating to 1757, for its poster. The theme of “Gattaca” is that the human spirit is indomitable and can overcome the technological conflict of the film, a dystopic-caste system based around genetic engineering.

Didot is used as the title typeface for “Interstellar” (2014). Didot is a striking and dazzling modern serif typeface dating back to the 18th century. Though the film is a high-tech adventure through space to save humanity, the main character only succeeds because of his devotion to his family.

In contrast to the stylized typeface used for the title on the poster for “Blade Runner” 1982, a serif font is used in the film itself.

Goudy Old Style, developed by Frederic Goudy in 1915, is used for the title card, credits, establishing text, and opening crawl. The story of Blade Runner involved replicants, artificial people, being hunted down and destroyed. Replicants not only pass for humans, but truly have human desires, emotions, and fears.

Bibliography“Bank Gothic” MyFonts. 1 January 2000. Web. 22 April 2015.

“Microgramma.” MyFonts. 17 March 2000. Web. 22 April 2015.

“Microstile” LettError. 3 February 2014. Web. 22 April 2015.

“The original squared sans, redrawn – Bank Gothic and Morris Sans.” Linotype. 2015. Web. 22 April 2015.

“USS” Memory Alpha. 8 September 2014. Web. 22 April 2015.

Addey, Dave. “Typeset in the Future.” 1 December 2014. Web. 22 April 2015.

Bringhust, Robert. The Elements of Typographic Style. Vancouver: Harley & Marks, Publishers, 2004. Print.

Carter, Rob, et al. Typographic Design: Form and Communication. Hoboken: John Wiley & Sons, Inc., 2012. Print.

Crisp, Denise. Graphic Design in Context: Typography. New York: Thames & Hudson, 2012. Print.

Lockard, Robert. “RoboCop (1987) Is an Almost Perfectly Symmetrical Film” Dejareviewer. 2014. Web. 25 April 2015.

Noessel, Chris. Sci-Fi Interfaces. N.d. 2015. Web. 25 April 2015.

Novarese, Aldo. “Eurostile, A Synthetic Expression of Our Times.” Pagina, International Magazine of Graphic Design, No. 4 (1964). This is Display. Web. 22 April 2015.

Ulloa, Alexander. Art of the Title. 2015. Web. 25 April 2015.

BauhausHistory, Philosophy, and Influent

History

Page 2

“Building School“

Page 4

Founded in Weimar.Page 5

Fine Art+

Applied Art

Page 7

Objective: Unify all the arts.

Page 8

Walter Gropius (1883–1969)Page 9

Hannes Meyer (1889–1954) Page 13

Ludwig Mies van der Rohe (1886–1969)

Page 14

Philosophy

Page 16

Alfred BarrDirector of the Museum of Modern Art 1938

Page 17

“Most student should face the fact that their future should be involved primarily with industry and mass production rather

than with individual craftsmanship.”

Page 18

“Teachers in schools of design should be men who are in advance of their profes-sion rather than safely and academically

in the rearguard.”

Page 19

“The schools of design should, as the Bauhaus did, bring together the vari-

ous parts of painting, architecture, the-atre, photography, weaving, typogra-

phy, etc., into a modern synthesis which disregards conventional distinctions be-

tween the “fine” and “applied” arts”Page 20

“It is harder to design a first rate chair than to paint a second rate painting-and

much more useful”

Page 21

“A school of design should have on its faculty the purely creative and disinter-ested artist such as the easel painter as a spiritual counterpoint to the practical technician in order that they may work

and teach side by side for the benefit of the student”

Page 22

“Manual experience of materials is es-sential to the student of design- experi-ence at first confined to free experiment and then extended to the practical work-

shop”

Page 23

“The study of rational design in terms of techniques and materials should be only

the first step in the development of a new and modern sense of beauty”

Page 24

Typefaces

Page 25

Josef Albers’s Stencil

Page 26

Herbert Bayer’s Universal

Page 29

Paul Renner’s Futura

Page 33

Typography/Printing and Advertising

Page 37

Sources:Eskilson, Stephen J. “Ty[ography at the Bauhaus.” Graphic Design: A New Story. New Haven: Yale UP, 2007. 242-45. Print.

Siebenbrodt, Michael, and Lutz Schöbe. Bauhaus. Newyork: Parkstone International, 2012. Print.

http://academic.chrissnider.com/bauhaus/pages/phi-losophy.html

Page 52

Thank your for your attention.

Page 53

Tattoo Lettering And Typography in Tatoos

TattooTypefaces

Script

Celtic/ Blackletter

Graffiti

Unusual

https://vimeo.com/103907606

Research Presentations / GRPH223 / Typography / UNL / Department of Art + Art Histiory

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Transcript of Research Presentations / GRPH223 / Typography / UNL / Department of Art + Art Histiory