Mini Photo Project

roommate recreating a snapshot

the sun

holding hands

under my bed

 

 

 

view from a tree

 

my friend dancing like a weirdo

Typography Info

Oldstyle: 1435

• Axis of thick-thin contrast slopes slightly to the left
• Cross-bar of the lowercase 'e' is horizontal
• Top serifs are roof-shaped and have triangular form
• Base serifs have no or hardly any rounding at bottom
• Examples: Bembo, Garamond, Palatino, Plantin, Albertina

 

Transitional: 1750

• Axis of thick-thin contrast is almost vertical or slopes very slightly to the left
• Base serifs are only a little or virtually not rounded at the bottom
• Lowercase 'e' has horizontal cross-bar
• Top serifs of lowercase letters are roof-shaped
• Serifs sometime rounded, sharpened, or horizontal
• Examples: Baskerville, Concorde, Fournier, Perpetua, Times New Roman

 

Modern: 1775

• Typefaces that have a high thick-thin contrast
• Serifs sometimes rounded, sharpened, or horizontal
• Vertical stress axis
• Thin serifs
• Emphasis on vertical stroke, sharp contrast, symmetry, and sharp transition to straight serifs
• Examples: Bodoni, Didot, Walbaum, Linotype Centennial, Vertrina

Slab: 1800's

• Heavy, rectangular serifs
• Serif weight is almost as thick as the letter itself
• Terminals may be blunt, angular, or rounded
• Examples: Clarendon, Rockwell, Beton, Egyptienne, Courier

Sans-Serif Grotesk (and Gothic): 1920's

• Line thicknesses seem to be equal, but have a slight visual thick-thin contrast
• Ascender height is usually equal to the capital height
• The cure of the lowercase 'e' is pointed up towards the crossbar
• The lowercase 'g' has an open curve that ends pointing upwards
• Examples: Akzidenz Grotesk, Helvetica, Univers, Arial, Futura

 

Sans-Serif Humanist:

• No serifs
• Line widths are visually equal
• Extension on lowercase 'e' points to right instead of turning toward the cross-bar
• Lowercase 'g' often has classic form with two 'bowls'
• Characters have more distinguishing forms than those of other sans-serifs
• Examples: Gill Sans, Profile, Frutiger, Scala, Myriad

Sans-Serif Geometric:

• No serifs
• Axis of roundings is vertical
• Letters seem to have been drawn using ruler and compass
• Line thicknesses are only visually and minimally corrected
• Examples: Futura, Avenir, DTL Nobel, Erbar, Eurostile

Bauer Bodoni

Serif
Didone modern
Bodini typeface designer - Giambattista Bodoni (1798)
Bauer Bodini typeface designer - Heinrich Jost (1926)

 

Giambattista Bodini (1740-1813)
Born near Turin, Bodini was the fourth son of a master printer. He was made the director of the Royal Printing House of the Duke of Parma. He introduced a new, clear, simple type - the Modern typeface. No other printer was more acclaimed than he was during his lifetime. His four principles of type design are regularity, cleanness, good taste, and charm.


Heinrich Jost (1889-1948)
Born in Magdeburg, Germany, Jost was a typographer, type designer, and graphic designer. He moved to Munich in 1908 where he studied under Paul Renner (Futura's creator) and Emil Preetorius. He worked as a book designer and graphic artist until 1923, when he became the art director at Bauer Type Foundry in Frankfurt. Here, he added detail the Renner's Futura typeface. He also joined with Louis Holl to create the Foundry's version of Bodini. 

Behance Link

Done with the typography weather project!

See it at ...... http://www.behance.net/egrigone

Design Questions

Adrian Frutiger was born in 1928 in Unterseen, Switzerland. At a young age, Frutiger showed interest in letterforms. He emulated writer and teacher, Ernst Eberhart’s freer method of handwriting. Frutiger quickly developed his own style, as he would cut his pens down to a broad nib to make letterforms open and round. He was trained in type and graphics at the Zurich School of Arts and Crafts from 1949 to 1951. After moving to Paris in 1952, he worked as typeface designer and artistic manager at Deberny & Peignot. Here, he created some of the earliest typefaces for photocomposition. In 1957, he established his international position after designing the Univers typeface. Overtime, he has reworked and expanded it to include 63 fonts. His other typefaces include Serifa (1967), Frutiger (1975), and Avenir (1988). Soon after, Frutiger found his own studio in Paris with Bruno Pfafi and Andrea Gurtler, where Linotype became his namesake typeface and remains the best regarded.

Frutiger is also a respected painter, sculptor, symbologist, and mathematician and has written many books about type and design. He has taught at the Ecole Estienne and the Ecole Nationale Superieure des Arts Decoratifs. 

Univers is a unique typeface cause it is the first family to use numbers as a naming system for its various weights. This family is extensively varied and has a very systematic structure. Univers is suited for long bodies of text. It uses optically even strokes and a large x-height that increases legibility when used large or small. It is slightly elegant and rich in form.

The Univers grid utilizes a numbering system to define various widths, weights, and styles. The first digit, which runs from top to bottom, denotes weight, with 3X the thinnest and 8X the thickest. The second digit running from left to right denotes width, with X3 the most expanded and X9 the most condensed. Odd and even numbers are used to differentiate between roman and italic styles.

 

Type Spelled

Heather and I spelled out the word 'type' with found objects as we walked around campus

Type Defined (continued)

Weight - density or lightness of the individual letterforms

Width - the linear extent or measurement of something from side to side

Style - level of boldness or kind of letter within a typeface; could be narrow, condensed, italic, extended, small capitals, etc.

Font - collective name for a typeface but refers to a single style; used only to refer to a specific style within a typeface

Typeface - used to describe a complete alphabet including letters, numerals, punctuation marks, accents, etc.; the whole typeface should be used when designing to ensure consistency

X-height - the height of the lowercase letter 'x'; an important feature because it largely determines the apparent size of a typeface

Cap height - height in millimeters of a capital letter in a particular typeface; not directly related to the body size

Leading - derives from metal type; the extra white that was added between the lines of metal type in the form of strips of lead or lead alloy

Letterspacing (tracking) - the amount of white spacing between letters



How is type measured in inches, mm, points or picas?
The inch is defined as 25.4 millimetre. Twelve pitch letter is used, which means that 12 letters fit into an inch width-wise. The pica is a duodecimal system that is divided into 12 points. A pica measures 0.351461 mm. An inch is divided into 72 pica points.

Define point.
Point is the unit used for the measurement of letterforms. It is equivalent to 1/72 of an inch (1 inch = 72 points).


Define pica.
Pica is a type of point. It is the type of measurement most frequently applied to printing. A pica measures 0.351461 mm.

How many points in an inch?
72

If a letter is set in 36 pts about how many inches tall is it?
1.5 in

How many picas in an inch?
6
 
How many points in a pica?
12