Typography - Portfolio

RACHEL HIRST

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1 0 0 N . S T U D I O W A Y | H O L L Y W O O D C A , 9 1 6 1 0 | W W W . S P O T P R O D U C T I O N S . C O M

Samantha DarlingtonFilm Liason5395 W. Alcala ParkHollywood, CA 91610

Dear Ms. Darlington, This letter is written to inform you that Spot Productions will be �ilming on location in your area from Aug. 13 - Aug. 25, from approximately 9am - 5pm. In order to facilitate �ilming, we will need to hold parking for our vehicles during business hours. The streets affected include Sunset Blvd. and Fountain between Vine St. and N. Gower St.

We are aware of the inconvenience caused by our activity and apologize in advance. We will doeverything possible to minimize our impact on your neighborhood, if you have any particular concernsabout scheduled deliveries or construction, please contact the Location Department at 310-992-0132.We will do everything possible to �ind a mutually agreeable solution to any problems that may arise.

Your cooperation will make this production a success. If you have any questions or concerns, please don’t hesitate to contact us. We would like to thank you in advance for your understanding andcooperation.

Signed, Benjamin DaviesProduction [email protected]


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A Modern Marriage.Article by Virginia Smith

For a graphic designer who accepted the Modernist principle of the unity of the arts—that graphic design and typography share the same theoretical base as architecture, that they arise from the same mindset and occupy the same visual landscape—the new architecture of lower Manhattan stumps me. At Ground Zero, the 7 World Trade Center corporate Tower #1 by Skidmore, Owings and Merrill (SOM) has nearly topped out and has secured its first tenant; Tower #2, just announced, will be by British architect Norman Foster, designer of the controversial Swiss Re London tower shaped like a steel pickle, and Santiago Calatrava's soaring white glass bird for the WTC Transportation Hub, is set to fly by 2009. What is comparable to all this development in graphic design and typography? Is there a unity of the arts in the post-Post-Modern era?

Early Modern theorists stressed the oneness of style: Le Corbusier said in 1923, “Style is a unity of principles animating all the work of an epoch, the result of a state of mind that has its own special character. Our own epoch is determining, day by day, its own style." Gropius went further in recognizing, "the common citizenship of all forms of creative work and their logical interdependence on one another in the modern world." Alvin Lustig, whose early death deprived Yale of a serious design theorist, hoped for "the kind of relationship that existed in earlier periods between objects—the great symbolic spark that jumped between a candle stick, a Gothic cathedral, or a tapestry."

In his 1928 manifesto of the modern spirit in typography, The New Typography, Jan Tschichold named Adolf Loos, Mies van der Rohe and Le Corbusier as architects expressing the spirit of modernism. In this interesting work, he advised German printers to achieve the modern spirit by rejecting “old style” faces and using the nondescript sans serifs in the type case, such as Venus. But the modern impulse stirred in designers, and new sans serifs appeared.

The types of Jakob Erbar (Erbar type 1926), especially Paul Renner (Futura type 1927) and Rudolf Koch (Kabel type 1927) became widely popular from their first appearance.

In my new book, Forms in Modernism; A Visual Set. The Unity of Typography, Architecture and the Design Arts, I pair similar approaches in the treatment of form by architects and designers. Early in the 20th century, the “stripped” Looshaus building in Vienna and the “stripped” sans serifs revealed a turn from ornament to “abbreviated” or “abstracted” bases—the bones of the letter. Further, Tschichold claimed asymmetry as the logical order of text resulting from its hierarchy and function. In posters and book design, sans serif type, photography, rules and bars replaced fleurons and ornaments, illustrations, borders and centered type. Bold and big, using all the page and its white space, this practice of asymmetrical composition became a key principle in modern graphic design, proselytized by the Bauhaus as well.

In my book, I show that fashion and furniture move in the same spirit of a period on the personal scale. Such design is part of the visual landscape, or “visual set” of the early modern period.

So, today, where is that spark? Is there any resemblance, or any "interdepen-dence," among designers of buildings and designers of pages and letterforms?

Graphic design repeats in miniature what architecture does monumentally.

Arc i h i t ecture & Type | 30

A IGA | MARCH 2006

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Madeleine Vionnet and Mies van der Rohe both rejected axial symmetry and centrality. Mies exhibited his now iconic Barcelona pavil ion in 1929, the same year Vionnet showed her wedding dress. It revealed its construction in the metall ic cord seams fol lowing the fabric around the body to gather in an asymmetric focus on the left hip. Vionnet didn't study Mies; she sent her assistants to the Louvre to draw Greek drapery. There's no causal connection, inf luence or even awareness of each other's work. (Even to fantasize about a meeting between them is alarming. One can only speculate that they might both have served the same rich cl ients. ) But by 1929, both had discarded tradition in favor of a new spirit . And both used luxurious materials—Mies, marble and onyx; Vionnet, ivory si lk panne velvet—allowing the intrinsic elegance of materials, their refinement and proportions, to work.

The Empire State Building had been constructed in record time at the beginning of the 1930s. American Type Founders issued an elongated, condensed tit l ing face called Empire, named after the building. Huxley Vertical type and Slimline type also appeared in the ’30s. Both elongated letterforms to the maximum, condensing them to narrow, anorexic stems—skyscraper types. The period exaggerated thinness and tal lness, and models and stars showed how it looked on the human figure. Tall buildings evolved and became New York's

corporate style architecture: Helvetica type emerged as its counterpart in the 1950s. Skidmore, Owings and Merril l has designed much of the New York landscape since its iconic Lever House of 1951—Chase Manhattan Plaza, the green Citicorp building in Queens, Union Carbide headquarters, hospitals, many educational renovations and additions. There is also 101 Barclay Street (1983), a white building immediately to the north of 7 World Trade Center. It is identif ied by modest brass t i t l ing over the main entrance. Together, the two SOM buildings, 7 World Trade Center and 101 Barclay Street, occupy a massive stretch of g lass. To their south wil l be Tower 2 by Foster and the WTC Hub of Calatrava. What wil l be their graphic counterparts?

We can recognize that new concerns have replaced striving for purity of form. Foster 's London tower takes its shape from environmental goals: admitting natural l ight and fresh air, conserving energy. Its tapering form minimizes gusts of wind, often problematic around city skyscrapers (the original WTC plaza was non-navigable, i f you remember). The aerodynamic form permits staggered l ight wells to open vistas between f loors, as well as move fresh air upward and warm air outward.

Social concerns l ike housing, so central to early modern thinking, have become people concerns again, but more empathetically. Santiago Calatrava says of the wing l ike forms of his World Transportation Hub: "The building is built with steel, g lass, and l ight. They wil l al l be equal building materials—the l ight wil l arrive at the platform, and visitors wil l feel

l ike they are arriving in a great place, a welcoming place." He showed he could do this in the 2004 Athens Olympic Stadium Complex. In contrast, Le Corbusier planned to screen tenants to admit those worthy of l iving in his Marseil le apartment building.

Recently, the Cal Trans building in Los Angeles, designed by Thom Mayne, incorporated the building's address in a stunning projection of huge architectural numbers from the facade. Thom Mayne's f irm, Morphosis, won commissions to design the Cooper Union addition on Third Avenue as well as the Olympic Vil lage in Queens.

The tal lest building in the world is being built in the Kingdom of Dubai. New museums, commercial and government buildings and condominiums come from Gehry, Gwathmey, Nouvel, Zaha Hadid, and celebrated architects worldwide. It 's hard to eep track. With type, new faces and new versions of old faces are available from many sources: Adobe, Emigre, Linotype, Monotype, Hoef ler, Manfred, Markus, Tobias or Phil . Globalization leaves the neat concept of unity of style in shambles.

Or perhaps it has been transformed into something more complex, more profound than we now can see. We can't identify it because it is too close. Can someone see the common spark?|

In American modernism, typography also followed architecture.

The unio n of type and architecture does exist.

About the Author: Virginia Smith's book, Forms in Modernism: A Visual Set (Watson-Guptill) places typography in the theoretical context of other design of the Modern period, especially architecture, with examples from couture and furnishings. She is a Professor Emerita of Baruch College of CUNY and a practitioner and observer of graphic design and design history.

HELVECTICA TYPEFACE

Arc i h i t ecture & Type | 32 31 | Arc i h i t ecture & Type

AIGA | THE PROFESS I ONAL ASSOC IAT I ON FOR D ES I GN AIGA | MARCH 2006

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