Oooops i put my site on the type page not my personal one. o well....
here ya go.
MORE WEB AWESOMENESS.
Tuesday, December 1, 2009
Monday, November 30, 2009
Infotime for Nov 30
What are the advantages of multi column grid?- there are numerous ways tu use a multi-column grid. You can reserve sections for text, images, or captions. It makes organization very easy and layouts automatically flow better than if you did not have multiple columns.
How many characters is optimal for line length? words per line?- About 70 characters per line is the standard. This is because the use of very long or very short lines interrupts the normal eye pattern that we use to read. We also like to have around 10-15 words per line which is about 70 or so characters.
Why is the baseline grid used in design?- it makes life a little bit easier for designers. It allow the designer to create a pleasing grid and good typography. Easily layout websites and make full typographic framework for any subject.
What is a typographic river?- a typographic river is when your column of text has a series of spaces in each line that can be visualy connected down the entire column, looking similar to a river.
What does clotheslining or flow line mean?- the horizontal line that appears on a layout thats on the text so that your eyes go through the page easier.
What is X-height? how does it effect type color?- vertical height of a lowercase in a typeface x-height vaires from one typeface to another. Also called the body height. The size of the x height makes the letter look darker if smaller and lighter if bigger.
How can you incorporate white space into your designs?- Wellllll you can use it to draw the viewers eye into your composition, you can create shapes, or rules with white space. the abscense of space is just as powerful as the space itself.
In justification or H&J terms what do the numbers minimum, optimum, maximum mean?-The specific amount of space between words, the minimum being at the least possible, the optimum just right.
What are some ways to indicate a new paragraph?- umm there are tons of ways! indentinos, exdentions, rules, dots, graphics, gaps, loops, circles. The list is practically endless. enjoy.
What are some things to look out for when hyphenating text?- make sure you are using it for line breaks and for the appropriate words. try not to have it end any of your compositions or columns.
What is a ligature?- Ligatures prevent the collision or interference of characters particulary
the extended finial of the f' and the dot of the i.
What does CMYK and RGB mean?- CMYK means Cyan Magenta Yellow and Black. and RGB is Red Green and Blue. They are all used in printing to get the right amount of colors and such.
What does hanging punctuation mean?- its a way of typesetting punctuation marks and bullet points and quotation marks and hyphens so that they dont disrupt the flow of text.
What is the differnce between a foot mark and an apostrophe?-
What is a hypen, en-dash and em dashes, what are the differences and when are they used?-A hyphen (-) is used for hyphenating words or line breaks. It is found next to the equal sign on the keyboard. An en dash is used between words indicating a duration such as hourly time or months or years. It is used with a thin space before and after, but not a full space. It is made with option+hyphen. An em dash is twice as long as the en dash. It is used in a manner similar to colon or parentheses, or indicates an abrupt change in thought. It is made with option+shift+hyphen.
How many characters is optimal for line length? words per line?- About 70 characters per line is the standard. This is because the use of very long or very short lines interrupts the normal eye pattern that we use to read. We also like to have around 10-15 words per line which is about 70 or so characters.
Why is the baseline grid used in design?- it makes life a little bit easier for designers. It allow the designer to create a pleasing grid and good typography. Easily layout websites and make full typographic framework for any subject.
What is a typographic river?- a typographic river is when your column of text has a series of spaces in each line that can be visualy connected down the entire column, looking similar to a river.
What does clotheslining or flow line mean?- the horizontal line that appears on a layout thats on the text so that your eyes go through the page easier.
What is X-height? how does it effect type color?- vertical height of a lowercase in a typeface x-height vaires from one typeface to another. Also called the body height. The size of the x height makes the letter look darker if smaller and lighter if bigger.
How can you incorporate white space into your designs?- Wellllll you can use it to draw the viewers eye into your composition, you can create shapes, or rules with white space. the abscense of space is just as powerful as the space itself.
In justification or H&J terms what do the numbers minimum, optimum, maximum mean?-The specific amount of space between words, the minimum being at the least possible, the optimum just right.
What are some ways to indicate a new paragraph?- umm there are tons of ways! indentinos, exdentions, rules, dots, graphics, gaps, loops, circles. The list is practically endless. enjoy.
What are some things to look out for when hyphenating text?- make sure you are using it for line breaks and for the appropriate words. try not to have it end any of your compositions or columns.
What is a ligature?- Ligatures prevent the collision or interference of characters particulary
the extended finial of the f' and the dot of the i.
What does CMYK and RGB mean?- CMYK means Cyan Magenta Yellow and Black. and RGB is Red Green and Blue. They are all used in printing to get the right amount of colors and such.
What does hanging punctuation mean?- its a way of typesetting punctuation marks and bullet points and quotation marks and hyphens so that they dont disrupt the flow of text.
What is the differnce between a foot mark and an apostrophe?-
Foot marks and inch marks are generic symbols that look like this ' (inch) " (foot). An apostrophe and quote mark have a small circle and curve that make it present the quote or word, such as “” ‘’. The default for a foot mark and inch mark is that on the computer keyboard. To make the apostrophes and smart quotes you hit option+[ (left bracket is quote, right bracket is apostrophe).
What is a hypen, en-dash and em dashes, what are the differences and when are they used?-A hyphen (-) is used for hyphenating words or line breaks. It is found next to the equal sign on the keyboard. An en dash is used between words indicating a duration such as hourly time or months or years. It is used with a thin space before and after, but not a full space. It is made with option+hyphen. An em dash is twice as long as the en dash. It is used in a manner similar to colon or parentheses, or indicates an abrupt change in thought. It is made with option+shift+hyphen.
Monday, November 23, 2009
its Time for a Change
Its Time For A Change
I decided to work with AIGAs article about coming
together as designers to collectively change our own world.
I dig it. So ill do it.
I decided to work with AIGAs article about coming
together as designers to collectively change our own world.
I dig it. So ill do it.
Tuesday, November 10, 2009
Fast as the Flash
Flash is vector based whereas HTML is not.
Flash intelligently ‘caches’ it’s movies so they don’t have to be reloaded.
Flash gives the user (the person viewing/using the Flash movie) a more responsive ‘rich-client’ like experience.
Flash might even be slightly cooler than After Effects.. just slightly.
We totally use it because...: Because it is "positioned as a competitor to HTML to build interactive web sites and applicationsFlash movies load faster and save on download time because its just that awesome.
Flash that I DIG.
1.Some crazy Trollback! The things he and his group do are amazing. the swirls are genius and the 3d world is mind blowingly cool.
2.SectionSevenShtuff Their intro alone is quite interesting. their site is on another level of cool when it come to layout.
3.KreativeKollective Their site interface is wicked. I also dug the intro to their site as well.
Monday, November 2, 2009
im handing these bad boys in....
this is them! impressive? i think so..... maybe....
at least the projects done.
ON TO THE NEXT.
Sunday, November 1, 2009
Survey This! (please?)
only 6 quick questions. ill do yours if you do mine!
Click Here to take survey
if that doesnt work
http://www.surveymonkey.com/s.aspx?sm=lBVUmR1Qcgq4wrgmZqyd5w_3d_3d
thanks everyone!
Click Here to take survey
if that doesnt work
http://www.surveymonkey.com/s.aspx?sm=lBVUmR1Qcgq4wrgmZqyd5w_3d_3d
thanks everyone!
Wednesday, October 21, 2009
Tuesday, October 20, 2009
Saturday, October 10, 2009
Tuesday, September 29, 2009
She's a big fat Bembo
BEMBO!!!!!!
At the beginning of the 1920s, Monotype entered a period of achievement that, today, is seen as one of the most important in modern typographic history. It was during this time that, under the direction of Stanley Morison, Monotype developed what was to become the foundation of its current library. This included new designs, such as Gill Sans, Perpetua and Romulus, and revivals of typefaces lost for centuries. Bembo was one of the designs in this latter group.
The history of Bembo originates in Venice, an important typographic center in 15th and 16th century Europe. Many printers established businesses in Venice at this time, but none so significant as Aldus Manutius. Next to Gutenberg, Aldus was perhaps the most influential printer of the Renaissance and the first of many great scholar-printers. Late in the 15th century, Aldus published a relatively insignificant essay by the Italian scholar Pietro Bembo. The type used for the text was a new design commissioned by Aldus and cut by Francesco Griffo, a goldsmith-turned-punchcutter.
The typeface, which was modestly launched in a 60-page favor to a friend and became eminently popular in Italy, soon found its way into France. Here the design came to the attention of Claude Garamond, the famous French type founder, and through his efforts to duplicate it the design eventually spread its influence to Germany, Holland and the rest of Europe. The Aldine roman, as it came to be known, became the foundation of new typeface designs for hundreds of years
Even though Bembo was technically created in the 14th or 15th century it was brought back into its prime in the year 1929. So things that happened in 1929 kinda go like this. Herbert Hoover is the 31st president. The Great Depression started. The first academy awards were announced. The Yankees wear the first uniform numbers. Hoover Dam authorized. Popeye created. Babe Ruth becomes the 1st to hit 500 homers.
The Old Style (or Garalde) types start to demonstrate a greater refinement—to a large extent augmented by the steadily improving skills of punchcutters. As a consequence the Old Style types are characterised by greater contrast between thick and thin strokes, and are generally speaking, sharper in appearance, more refined. You can see this, perhaps most notably in the serifs: in Old Style types the serifs on the ascenders are more wedge shaped (figure1.1).
Another major change can be seen in the stress of the letterforms (figure 1.2) to a more perpendicular (upright) position. You may remember our old friend, the lowercase e of the Humanist (Venetian) types, with its distinctive oblique (sloping) crossbar; with Old Style types we witness the quite sudden adoption of a horizontal crossbar. Fonts that are Old Style include Garamond Premier, Goudy, Cloister, Rinceau, Ingvaeonic.
Stanley Morison (6 May 1889 – 11 October 1967) was an English typographer, designer and historian of printing.
Born in Wanstead, Essex, and self-taught, having left school after his father abandoned his family, Morison became an editorial assistant on Imprint magazine in 1913 . As a conscientious objector he was imprisoned during the First World War, but became design supervisor at the Pelican Press in 1918 .
In 1922 he founded the Fleuron Society dedicated to typographical matters (a fleuron being a typographic flower or ornament). He edited the society's journal The Fleuron from 1925 to 1930 . The quality of the publication's artwork and printing was considered exceptional. From 1923 to 1925 he was a staff editor/writer for the Penrose Annual, a graphics arts journal.
From 1923 to 1967 Morison was typographic consultant for the Monotype Corporation. In the 1920s and 1930s, his work at Monotype included research and adaptation of historic typefaces, including the revival of the Baskerville and Bembo types. He pioneered the great expansion of the company's range of typefaces and hugely influenced the field of typography to the present day.
Morison was also typographical consultant to The Times newspaper from 1929 to 1960 and in 1931, after having publicly criticised the paper for the poor quality of its printing, he was commissioned by the newspaper to produce a new easy-to-read typeface for the publication. Times New Roman, the typeface Morison developed with graphic artist Victor Lardent, was first used by the newspaper in 1932 and was published by Monotype in 1933.
Morison edited the History of the Times from 1935 to 1952 and was editor of the Times Literary Supplement between 1945 and 1948 . He was elected a Royal Designer for Industry in 1960 and was a member of the editorial board of Encyclopædia Britannica from 1961 until his death in 1967 in London.
Other typefaces designed by Morison for the Monotype Corporation include Blado (1923) and Bembo (1929)
At the beginning of the 1920s, Monotype entered a period of achievement that, today, is seen as one of the most important in modern typographic history. It was during this time that, under the direction of Stanley Morison, Monotype developed what was to become the foundation of its current library. This included new designs, such as Gill Sans, Perpetua and Romulus, and revivals of typefaces lost for centuries. Bembo was one of the designs in this latter group.
The history of Bembo originates in Venice, an important typographic center in 15th and 16th century Europe. Many printers established businesses in Venice at this time, but none so significant as Aldus Manutius. Next to Gutenberg, Aldus was perhaps the most influential printer of the Renaissance and the first of many great scholar-printers. Late in the 15th century, Aldus published a relatively insignificant essay by the Italian scholar Pietro Bembo. The type used for the text was a new design commissioned by Aldus and cut by Francesco Griffo, a goldsmith-turned-punchcutter.
The typeface, which was modestly launched in a 60-page favor to a friend and became eminently popular in Italy, soon found its way into France. Here the design came to the attention of Claude Garamond, the famous French type founder, and through his efforts to duplicate it the design eventually spread its influence to Germany, Holland and the rest of Europe. The Aldine roman, as it came to be known, became the foundation of new typeface designs for hundreds of years
Even though Bembo was technically created in the 14th or 15th century it was brought back into its prime in the year 1929. So things that happened in 1929 kinda go like this. Herbert Hoover is the 31st president. The Great Depression started. The first academy awards were announced. The Yankees wear the first uniform numbers. Hoover Dam authorized. Popeye created. Babe Ruth becomes the 1st to hit 500 homers.
The Old Style (or Garalde) types start to demonstrate a greater refinement—to a large extent augmented by the steadily improving skills of punchcutters. As a consequence the Old Style types are characterised by greater contrast between thick and thin strokes, and are generally speaking, sharper in appearance, more refined. You can see this, perhaps most notably in the serifs: in Old Style types the serifs on the ascenders are more wedge shaped (figure1.1).
Another major change can be seen in the stress of the letterforms (figure 1.2) to a more perpendicular (upright) position. You may remember our old friend, the lowercase e of the Humanist (Venetian) types, with its distinctive oblique (sloping) crossbar; with Old Style types we witness the quite sudden adoption of a horizontal crossbar. Fonts that are Old Style include Garamond Premier, Goudy, Cloister, Rinceau, Ingvaeonic.
Stanley Morison (6 May 1889 – 11 October 1967) was an English typographer, designer and historian of printing.
Born in Wanstead, Essex, and self-taught, having left school after his father abandoned his family, Morison became an editorial assistant on Imprint magazine in 1913 . As a conscientious objector he was imprisoned during the First World War, but became design supervisor at the Pelican Press in 1918 .
In 1922 he founded the Fleuron Society dedicated to typographical matters (a fleuron being a typographic flower or ornament). He edited the society's journal The Fleuron from 1925 to 1930 . The quality of the publication's artwork and printing was considered exceptional. From 1923 to 1925 he was a staff editor/writer for the Penrose Annual, a graphics arts journal.
From 1923 to 1967 Morison was typographic consultant for the Monotype Corporation. In the 1920s and 1930s, his work at Monotype included research and adaptation of historic typefaces, including the revival of the Baskerville and Bembo types. He pioneered the great expansion of the company's range of typefaces and hugely influenced the field of typography to the present day.
Morison was also typographical consultant to The Times newspaper from 1929 to 1960 and in 1931, after having publicly criticised the paper for the poor quality of its printing, he was commissioned by the newspaper to produce a new easy-to-read typeface for the publication. Times New Roman, the typeface Morison developed with graphic artist Victor Lardent, was first used by the newspaper in 1932 and was published by Monotype in 1933.
Morison edited the History of the Times from 1935 to 1952 and was editor of the Times Literary Supplement between 1945 and 1948 . He was elected a Royal Designer for Industry in 1960 and was a member of the editorial board of Encyclopædia Britannica from 1961 until his death in 1967 in London.
Other typefaces designed by Morison for the Monotype Corporation include Blado (1923) and Bembo (1929)
1 font at a time
Font Classification-
The classification of a typeface by the distribution of weight, variations of thick and thin lines, and variations of serifs within the font.
Old style- Style of typefaces that date their roots back to the renaissance period, and imitates calligraphic typefaces. The typeface is noticeable by its low contrast and with diagnol stress, and its bracketed serifs.
Examples- Bembo, Caslon, and Jenson
Transitional- Typefaces that contain vertical stresses and slightly higher contrast than old style typefaces, combined with horizontal serifs.
Examples- Baskerville, Fournier, Times New Roman
Modern- Typefaces that began during the engraving techniques of the 17th and 18th centuries. The classification contains extreme contrast between thick and thin strokes, hairline serifs, unbracketed serifs, mathematical construciton, and has no ifluence by handwriting.
Examples- Bodoni, Bauer Bodoni, Walbaum
Slab Serif- Typefaces that began in the 1800's to attract people and was heavily used in advertisement. The typefaces typically are mono weight, square ended serifs, bold machine like, uniform serifs, rectangular, and geometric impact.
Examples- Serifa, Rockwell, Memphis Clarendon
Sans Serif- Typefaces that were influenced by the bauhaus moement that contains circular and geometric forms.
Examples- Future, Meta, Univers
Script- Script letterforms have a wide range of typefaces. Most Script typefaces were created by different brushes and tools and appears handwritten.
Examples- Bello, Volgare, Choch
Blackletter- Typefaces created over 600 years ago. Known by its ornate capitals, roughly diamond shaped serifs, and thick lines.
Examples- Fette Fraktur, Lucida blackletter, San Marco
Grunge- Typefaces that are amalgamted and scratchy. No clear definition but are all common.
Examples- Fallen Thyme, Laundromat 1967, Mc Auto
Monospace- Classification of type that conforms all letters to a certain physical width making the letterforms expand of condense.
Examples- Courier, Orator, Ocr B
Undeclared- Typefaces that contain sans serif structures attached to flared serifs.
Examples- Optima, Copperplate Gothic
The classification of a typeface by the distribution of weight, variations of thick and thin lines, and variations of serifs within the font.
Old style- Style of typefaces that date their roots back to the renaissance period, and imitates calligraphic typefaces. The typeface is noticeable by its low contrast and with diagnol stress, and its bracketed serifs.
Examples- Bembo, Caslon, and Jenson
Transitional- Typefaces that contain vertical stresses and slightly higher contrast than old style typefaces, combined with horizontal serifs.
Examples- Baskerville, Fournier, Times New Roman
Modern- Typefaces that began during the engraving techniques of the 17th and 18th centuries. The classification contains extreme contrast between thick and thin strokes, hairline serifs, unbracketed serifs, mathematical construciton, and has no ifluence by handwriting.
Examples- Bodoni, Bauer Bodoni, Walbaum
Slab Serif- Typefaces that began in the 1800's to attract people and was heavily used in advertisement. The typefaces typically are mono weight, square ended serifs, bold machine like, uniform serifs, rectangular, and geometric impact.
Examples- Serifa, Rockwell, Memphis Clarendon
Sans Serif- Typefaces that were influenced by the bauhaus moement that contains circular and geometric forms.
Examples- Future, Meta, Univers
Script- Script letterforms have a wide range of typefaces. Most Script typefaces were created by different brushes and tools and appears handwritten.
Examples- Bello, Volgare, Choch
Blackletter- Typefaces created over 600 years ago. Known by its ornate capitals, roughly diamond shaped serifs, and thick lines.
Examples- Fette Fraktur, Lucida blackletter, San Marco
Grunge- Typefaces that are amalgamted and scratchy. No clear definition but are all common.
Examples- Fallen Thyme, Laundromat 1967, Mc Auto
Monospace- Classification of type that conforms all letters to a certain physical width making the letterforms expand of condense.
Examples- Courier, Orator, Ocr B
Undeclared- Typefaces that contain sans serif structures attached to flared serifs.
Examples- Optima, Copperplate Gothic
Friday, September 18, 2009
Reps of Letterforms.....lots of letters.....
Apparently, these 3 folks/companies are pretty important. So you should probably pay attention to the words i'm about to throw down on this here blog page. It could be epic. watch out...
ITC- The International Typeface Corporation. This bad boy was founded in 1970 by designers Herb Lubalin and Aaron Burns. These guys, along with Ed Rondthaler, who owned Photo-Lettering Inc, created a mas library of more thatn seven thousand typefaces and was easily one the most successful sellers of display type. ITC did more then just sell type, it changed how the business was run. Most typeface vendors sold the equipment that made it possible to make their fonts work for the person buying. ITC was clever and ballsy by providing source material to make the consumer be able to reproduce their font on any phototype setting machines and ITC paid their designers via royalty basis on how well their designed fonts sold. ITC transitioned to the digital age slowly and changed their method of selling to keep up with the changing times. ITC also had its own publication called U&lc (Upper & lowercase). This allowed them to show off their sweet library of wicked fonts to possible consumers and their growing list of subscribers. But eventually ITC was closed and the name was sold but not gone. Its still alive but in the name of Agfa Monotype Imaging.
The Font Bureau, Inc.- I bet they thought the were real clever when they made their name the F.B.I. CHUCKLE CHUCKLE. Anywho..... The two minds of Roger Black and David Berlow founded The Font Bureau, Inc., based in Boston Mass, in 1989. pretty recent. Berlow was working at Linotype back in the day and he really got into digital typography once he joined Bitstream and really found out what is was like to use technology to his advantage when he got his hands on things like Adobe Postscript and Apple TrueType. Macs were the bomb back then and they still are now. Which is a good reason why Roger Black also got into the Mac. He was the director of some crazy magazines like Rolling Stone and New York and even NEWSWEEK. this dude was on a role. When they combined to make the F.B.I. they created proprietary familes and their foundry's output got to the point of 1,500 typefaces. Each of their typefaces have their own flair which makes the F.B.I rather popular. FB TITLING GOTHIC is a pretty sweet font that they have designed. id check it out if i were you. Its got a lot of variation of thik and thin and a real profesh feel to it. CHECK IT OUT.
FontShop International- this is another youngish company. but a sweet one at that. their work is bold, crazy cool and smooth at that. it was founded by Joan Spiekermann and Erick Spiekermann. the Hubbies made the first mail-order distributor of digital fonts. One of their main goals was to make the make FontShop grow up and be strong. FontShop has over 50 foundries around the world and they make it look easy FontShop publishes books for designers like FontBook which is a humongasaurus sized sampler and refrence guide of digital typefaces. One of their fonts, FF Meta, is pretty sweet. its a conventional font that makes the reading of it easy at angles and smaller point sizes. A real blue collar font! diggin it to say the least.
ITC- The International Typeface Corporation. This bad boy was founded in 1970 by designers Herb Lubalin and Aaron Burns. These guys, along with Ed Rondthaler, who owned Photo-Lettering Inc, created a mas library of more thatn seven thousand typefaces and was easily one the most successful sellers of display type. ITC did more then just sell type, it changed how the business was run. Most typeface vendors sold the equipment that made it possible to make their fonts work for the person buying. ITC was clever and ballsy by providing source material to make the consumer be able to reproduce their font on any phototype setting machines and ITC paid their designers via royalty basis on how well their designed fonts sold. ITC transitioned to the digital age slowly and changed their method of selling to keep up with the changing times. ITC also had its own publication called U&lc (Upper & lowercase). This allowed them to show off their sweet library of wicked fonts to possible consumers and their growing list of subscribers. But eventually ITC was closed and the name was sold but not gone. Its still alive but in the name of Agfa Monotype Imaging.
The Font Bureau, Inc.- I bet they thought the were real clever when they made their name the F.B.I. CHUCKLE CHUCKLE. Anywho..... The two minds of Roger Black and David Berlow founded The Font Bureau, Inc., based in Boston Mass, in 1989. pretty recent. Berlow was working at Linotype back in the day and he really got into digital typography once he joined Bitstream and really found out what is was like to use technology to his advantage when he got his hands on things like Adobe Postscript and Apple TrueType. Macs were the bomb back then and they still are now. Which is a good reason why Roger Black also got into the Mac. He was the director of some crazy magazines like Rolling Stone and New York and even NEWSWEEK. this dude was on a role. When they combined to make the F.B.I. they created proprietary familes and their foundry's output got to the point of 1,500 typefaces. Each of their typefaces have their own flair which makes the F.B.I rather popular. FB TITLING GOTHIC is a pretty sweet font that they have designed. id check it out if i were you. Its got a lot of variation of thik and thin and a real profesh feel to it. CHECK IT OUT.
FontShop International- this is another youngish company. but a sweet one at that. their work is bold, crazy cool and smooth at that. it was founded by Joan Spiekermann and Erick Spiekermann. the Hubbies made the first mail-order distributor of digital fonts. One of their main goals was to make the make FontShop grow up and be strong. FontShop has over 50 foundries around the world and they make it look easy FontShop publishes books for designers like FontBook which is a humongasaurus sized sampler and refrence guide of digital typefaces. One of their fonts, FF Meta, is pretty sweet. its a conventional font that makes the reading of it easy at angles and smaller point sizes. A real blue collar font! diggin it to say the least.
Wednesday, September 9, 2009
Baskerwho? This seems a little Fruti(ger)!
John Baskerville... what a name. it feels old, generic and straight off of the Mayflower. But as I read all about this John Baskerville, I kinda figured out that he was a pretty cool dude. Being a fan of history, I thought it was cool that he was an atheist in a time of great religion and also that his work was admired by Ben FREAKIN Franklin. That says something. But anyway, John Baskerville was a member of the Royal Society of Arts, a fantastic printer and typographer and last but not least he kinda obviously invented/designed the font BASKERVILLE! Alot of his work was heavily criticized and kinda stopped being made, that is until its recent comeback. And with its recent comeback, some of his other fonts have come to light like Monotype, Linotype. He also created alot of sweet innovations in the paper, ink and printing areas like smooth white paper, and wide margins with increased leading. Some of the finer works that he had done include, "Paradise Lost" several bibles including the new testament, not to mention "Orlando Furioso" His unique style was used in a lot of the freshly made United States. WHICH IS COOL! Baskerville died in 1775.FYI.
Adrian Frutiger... was super gnarly kid born in the swiss land. By 16 (thus being a kid) he was an apprentice to printer in his home town. He then moved to the design capital of the freakin world also known as Zurich, where he actually studied "arts and crafts". that sounds like a real sweet major... anywho.... he went on to further typesetting technologies in his field, moving it towards the direction of phototypesetting . This is all good and stuff but it really doesnt compare to his latter achievments. THE DUDE DESIGNED UNIVERS! not to mention a whole bunch of other fonts like, President, Phobius, Ondine, Apollo, Serifa and of course Frutiger. Not to mention a bunch more. This dude was on his game when it came to designing sweet fonts.But lets get to the good stuff. UNIVERS was, and still is, a bomb diggity font and for many, many, many reasons. Most of which have to do with the fact that Univers has a ton of different varitions, weights and are in a strict organized form to make them easier to recall, and use. and of course they are all in the same family of fonts. it has something like 44 faces, quite a few of them numbered by weight and width. The univers grid is something special to look at. Pretty confusing to the average man, but to Frutiger and an experienced typographer, its a thing of beauty. Layed out on sweet chart based on stroke weight and kerning, orientation and style.
so really Frutiger did us all a gnarly favor by making Univers... or maybe he didnt, this homework is getting REDIC! but i kinda enjoy it.... peace out!
.
Sunday, August 30, 2009
HW 8/26
Absolute Measurement: are measurements of fixed values. For example, a millimeter is a precisely defined increment of a centimeter. All absolute measurements are expressed in finite terms that cannot be altered.
Relative Measurements: type is defined by a series of relative measurements. Ems and ens for example are relative measurements that have no prescribed absolute size. their size is relative to the size of the type that is being set.
Point: The point is the unit of measurement used to measure the type size of a font, for example 7pt Impact. This measurement refers to the height of the type block, not the letter itself.
Pica: A Pica is a unit of measurement equal to 12 points that is commonly used for measuring lines of type. There are 6 picas or 72 points in an inch.
The Em: The Em and the relative unit of measurement is used in typesetting to define basic spacing functions, and therefore it is linked to the size of the type. It is a relative measurement in that if the type size increases, so does the size of the em.
The En: The en is a unit of relative measurement equal to half of one em. In a 72 point type, an en would be 36 points.
Legibility: Legibility is the ease with which the eye can identify letters and distinguish one from another. If the letters are easily read, they are illegible, and if they can be read, they are legible. Legibility can greatly vary and is not always as simple.
Rag: Rags occur when highly noticeable shapes form by the line ends of the text blocks that distract from simple, uninterrupted reading. Rags can include exaggerated slopes or noticeable inclines.
Type Alignments:
Flush Left: Type set to an even left margin, giving an uneven or ragged right margin. Good for asymmetry.
Flush Right: Type set to an even right margin, giving an uneven or ragged left margin. Good for setting small bodies of text,captions and so on within asymmetrical layouts.
Centered: Type set on an central axis, with even word spacing and ragged left and right margins. Good for single page layouts.
Justified: A space between the words is adjusted in each line giving even margins on both the left and right. Good for leaving a neat rectangular text area.
Rivers: Rivers typically occur in justified text blocks when the separation of words leaves gaps of white space in several lines. A river effect is created where the white space gaps align through the text.
Word Spacing Ideals: Word spacing, hyphenation and justification functions allows for greater control of word spacing in a text block by controlling the space between words.
Indent: Are a specific space away from the margin. The length of the indent can be related to the size of the type. Indentation provides the reader with an easily accessible entry point to a paragraph.
Leading: is a hot-metal printing term that refers to the strips of lead that were insereted between the text measures in order to space them accurately. Leading is specified in points and refers in modern terms to the space between the lines of text in a text block. Makes legibility better.
Kerning: Automatic adjustments to the spacing of particular letter pairs that would otherwise create disproportionate spaces.
Tracking: Adjusting the overall space between letters, rather than the space between two characters. Also known as letterspacing.
Weight: Typefaces customarily include a choice of weights, from the single bold variant common to most text faces to intermediate weights, such a book, medium, and demi; or extremes, such as black or ultra bold.
Scale: Content may be differentiated through the scale of type, by increases in pint size. A title or subtitle, an introductory paragraph, or pull quote may be differentiated from the main text by being set in a larger size.
Typographic Variation: is the process of clarifying visually for the reader specific kinds of emphasis and prioritization , and to establish consistent distinctions between different kinds of content.
Orphan: is the final one or two lines of a paragraph separated from the main paragraph to form a new column, and should be avoided at all costs.
Widow: a lone word at the end of a paragraph.
Relative Measurements: type is defined by a series of relative measurements. Ems and ens for example are relative measurements that have no prescribed absolute size. their size is relative to the size of the type that is being set.
Point: The point is the unit of measurement used to measure the type size of a font, for example 7pt Impact. This measurement refers to the height of the type block, not the letter itself.
Pica: A Pica is a unit of measurement equal to 12 points that is commonly used for measuring lines of type. There are 6 picas or 72 points in an inch.
The Em: The Em and the relative unit of measurement is used in typesetting to define basic spacing functions, and therefore it is linked to the size of the type. It is a relative measurement in that if the type size increases, so does the size of the em.
The En: The en is a unit of relative measurement equal to half of one em. In a 72 point type, an en would be 36 points.
Legibility: Legibility is the ease with which the eye can identify letters and distinguish one from another. If the letters are easily read, they are illegible, and if they can be read, they are legible. Legibility can greatly vary and is not always as simple.
Rag: Rags occur when highly noticeable shapes form by the line ends of the text blocks that distract from simple, uninterrupted reading. Rags can include exaggerated slopes or noticeable inclines.
Type Alignments:
Flush Left: Type set to an even left margin, giving an uneven or ragged right margin. Good for asymmetry.
Flush Right: Type set to an even right margin, giving an uneven or ragged left margin. Good for setting small bodies of text,captions and so on within asymmetrical layouts.
Centered: Type set on an central axis, with even word spacing and ragged left and right margins. Good for single page layouts.
Justified: A space between the words is adjusted in each line giving even margins on both the left and right. Good for leaving a neat rectangular text area.
Rivers: Rivers typically occur in justified text blocks when the separation of words leaves gaps of white space in several lines. A river effect is created where the white space gaps align through the text.
Word Spacing Ideals: Word spacing, hyphenation and justification functions allows for greater control of word spacing in a text block by controlling the space between words.
Indent: Are a specific space away from the margin. The length of the indent can be related to the size of the type. Indentation provides the reader with an easily accessible entry point to a paragraph.
Leading: is a hot-metal printing term that refers to the strips of lead that were insereted between the text measures in order to space them accurately. Leading is specified in points and refers in modern terms to the space between the lines of text in a text block. Makes legibility better.
Kerning: Automatic adjustments to the spacing of particular letter pairs that would otherwise create disproportionate spaces.
Tracking: Adjusting the overall space between letters, rather than the space between two characters. Also known as letterspacing.
Weight: Typefaces customarily include a choice of weights, from the single bold variant common to most text faces to intermediate weights, such a book, medium, and demi; or extremes, such as black or ultra bold.
Scale: Content may be differentiated through the scale of type, by increases in pint size. A title or subtitle, an introductory paragraph, or pull quote may be differentiated from the main text by being set in a larger size.
Typographic Variation: is the process of clarifying visually for the reader specific kinds of emphasis and prioritization , and to establish consistent distinctions between different kinds of content.
Orphan: is the final one or two lines of a paragraph separated from the main paragraph to form a new column, and should be avoided at all costs.
Widow: a lone word at the end of a paragraph.
Tuesday, August 25, 2009
Josef Muller Brockmann is...
Joseph Muller Brockmann is a very talented swiss graphic designer along with being a teacher. He was born on May 9th of 1914 in Rapperswil, Switzerland. He attended both the University and Kunstgewerbeschule in Zurich while studying architecture and the history of art. Brockmann was freelance photographer before opening his own design studio in Zurich. However, Brockmann is especially well know for grid systems, for which he used them extensively. His work showed large amounts of flexibility, and appeared crisp and clean when it came to typography. His large grids were naturally the cause of this. Brockmann traveled all over to teach his ways. He wrote books and truly shaped the world of design but especially typography. He was highly awarded with such achievements like the Brunel Award and the Gold Medal of the Canton of Zurich. Even after Brockmann died in Zurich, in 1996, his work changed the face of the graphics industry and influenced generations to come.
Jan Tschichold is...
He is well known for designing a "universal alphabet" which showed how much he highly detested the seriff. The entire alphabet was presented in one typeface, that was sans-serif without capital letters. Even after his prime years Jan continued to write books, teach and inspire the modern world of typography for years to come.
Ddddddefinitions
Definition TIME!
Grid: The grid is a modernist structure and uses numbers (preferred by the likes of Bauhaus) to identify the different cuts.
Designers use grid to eliminate the confusion caused by different naming systems such as thin, black, heavy and so on. It makes type selection easier and simpler.
Modular Grid: A Modular grid has an equal amount of columns and rows. Each modular can hold type or a graphic. The type or graphic can occupy more than one modular, therefore creating infinite possibilities.
Margins: The blank space surrounding the text borders of the page.
Columns: Vertical arrangements on a page of horizontal lines of type and are usually typographically justified, size is dependent on modules.
Grid Modules: are considered to be standardized units or sections for easy construction or flexible arrangement.
Flowlines: The invisible lines that the viewer follows when scanning the text or layout.
Gutter: The space inbetween the pages of a book where it is bound, and also the extra space inbetween modules.
Heirarchy: Bringing attention the most important items of page by utilizing size, color, shape or scale.
Type Family: A number of separate fonts seen as distinct but related. As a general but not universal rule, those variants that share a common width and proportion are seen as a part of the same face, whereas trelated forms of differing width are more likely to be described as different faces within the same type family.
Type Style: Are the different styles of type that can be used that come from different type families.
ugh, that took FOREVER
Grid: The grid is a modernist structure and uses numbers (preferred by the likes of Bauhaus) to identify the different cuts.
Designers use grid to eliminate the confusion caused by different naming systems such as thin, black, heavy and so on. It makes type selection easier and simpler.
Modular Grid: A Modular grid has an equal amount of columns and rows. Each modular can hold type or a graphic. The type or graphic can occupy more than one modular, therefore creating infinite possibilities.
Margins: The blank space surrounding the text borders of the page.
Columns: Vertical arrangements on a page of horizontal lines of type and are usually typographically justified, size is dependent on modules.
Grid Modules: are considered to be standardized units or sections for easy construction or flexible arrangement.
Flowlines: The invisible lines that the viewer follows when scanning the text or layout.
Gutter: The space inbetween the pages of a book where it is bound, and also the extra space inbetween modules.
Heirarchy: Bringing attention the most important items of page by utilizing size, color, shape or scale.
Type Family: A number of separate fonts seen as distinct but related. As a general but not universal rule, those variants that share a common width and proportion are seen as a part of the same face, whereas trelated forms of differing width are more likely to be described as different faces within the same type family.
Type Style: Are the different styles of type that can be used that come from different type families.
ugh, that took FOREVER
FIrst Typography Junkit
Typography, typography, typography...... It actually really interesting, at least I kinda think so. This will probably go up and down throughout the semester but what doesn't? Anyway, this, if you could tell by now, is my Typography ONLY blog. All my homework, random rants, and work will be posted on here, whether I like it or not....
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