Wednesday, September 29, 2010

I'm officially published!

I just published my viscom project 1 on behance. Check it out!

Tuesday, September 28, 2010

What's up with fonts?

Font classifications:

The roman typefaces of the fifteenth and sixteenth centuries emulated classical calligraphy. Sabon was designed by Jan Tschichold in 1966, based on the sixteenth-century typefaces of Claude Garamond.
Ex: Bembo, Caslon, and Jenson

These typefaces have sharper serifs and a more vertical axis than humanist letters. When the fonts of John Baskerville were introduced in the mid-eighteenth century, their sharp forms and high contrast were considered shocking

Ex: Bembo, Caslon, and Jenson

The typefaces designed by Giambattista Bodoni in the late eighteenth and early nineteenth centuries are radically abstract. Note the thin, straight serifs; vertical axis; and sharp contrast from thick to thin strokes.
Ex: Bodoni, Bauer Bodoni, Walbaum

Numerous bold and decorative typefaces were introduced in the nineteenth century for use in advertising. Egyptian fonts have heavy, slab-like serifs.
Ex:Serifa, Rockwell, Memphis Clarendon

- Humanist: Sans-serif typefaces became common in the twentieth century. Gill Sans, designed by Eric Gill in 1928, has humanist characteristics. Note the small, lilting counter in the letter a , and the calligraphic variations in line weight.
- Geometric: Sans-serif typefaces influenced by the Bauhaus movement and featuring circular or geometric letters, with little variation in stroke thickness. * Some sans-serif types are built around geometric forms. In Futura, designed by Paul Renner in 1927, the Os are perfect circles, and the peaks of the A and M are sharp triangles.
- Grotesk: The first sans-serif designs developed in the 19th century, and considered grotesque by the English. *Helvetica, designed by Max Miedinger in 1957, is one of the world's most widely used typefaces. Its uniform, upright character makes it similar to transitional serif letters. These fonts are also referred to as "anonymous sans serif"
Ex: Arial, Helvetica, and Gill Sans

Since a Parisian printer created the first in 1643, script typefaces have become almost as numerous as the handwriting instruments – brush, broad-edged pen or pointed pen – that they were designed to imitate. Script typefaces often mimic handwriting techniques by joining letters with connecting lines.
Ex: Bello, Volgare, Choch

Typefaces created over 600 years ago. Known by its ornate capitals, roughly diamond shaped serifs, and thick lines.
Ex: Fette Frakture, Lucida blackletter, and San Marco

All of the characters in a monospaced typeface have the same width. Most typefaces have proportionally-spaced characters, but monospaced characters are often required when setting text on forms, financial statements and other documents where exact spacing is required.
Ex: Courier, Courier New, and Fixed 

Typefaces that are amalgamated and scratchy
 Ex: Fallen Thyme, Laundromat 1967, Mc Auto

Typefaces that contain sans serif structures attached to flared serifs.
Ex: Optima, Copperplate Gothic

My font: Serifa

- Sans Serif or Serif: serif
- Name of the Designer: Adrian Frutiger
- Date it was designed: 1967
- Classification: slab serif (Egyptian)
- List its family members: Roman, Italic, Bold...(small caps):
bold, black, italic, light, roman

The other fonts in this family must be selected by choosing a menu name and then a style option following the guide below.
Menu Name plus Style Option... selects this font
Serifa Std 45 Light [none] Serifa Std 45 Light
Serifa Std 45 Light Italic Serifa Std 46 Light Italic
Serifa Std 45 Light Bold Serifa Std 65 Bold
Serifa Std 55 Roman [none] Serifa Std 55 Roman
Serifa Std 55 Roman Italic Serifa Std 56 Italic
Serifa Std 55 Roman Bold Serifa Std 75 Black

Monday, September 6, 2010

Adrian Frutiger and Univers

Adrian Frutiger is a well renowned typeface designer born in the late 1920’s in Switzerland. He studied print and the written form at an art school in Switzerland. Because of his ingenious work in the line of typography, at a time when this was not a prominent art form, Frutiger was called to work in a Paris type foundry. While there, he helped move the company from hot metal setting towards a newer and more productive process of type using phototypesetting, a step closer to the digital type setting we are familiar with today.
            Throughout his career, Futiger has developed dozens of typefaces, including: President, Versailles, Avenir, Serifa, Frutiger, Rusticana, and (the typeface we are using in project 1 of this class and arguably the most famous) Univers. Beginning in the late 1980’s, Adrian Frutiger has been decorated with many awards for his work in typography including The Gutenberg Prize of the City of Mainz (Germany), The Grand Prix National des Arts Graphiques (France) and in 2009 was inducted into the European Design Hall of Fame. He has also authored multiple books about his work and the field of typography.
            Adrian Futiger is currently in his early 90’s and continues to work as a typeface designer and has also broadened his work into other fields of design.

The typeface Univers is "unique" in that all the variations its family are not designated by names, as was the practice for typefaces at the time of its creation, but rather by two numbers. The first number is used to define the weight of the stroke while the second designates the width and position of the characters. The Univers Grid is a table that arranges the different variations of the Univers font family so that the numbers and styles of the fonts align in a way that is visibly cohesive. This chart shows the genius behind the numbering system upon which Univers is based.