Thinking with Type

Letter Anatomy:

Anatomy

 Sketch 1

Sketch

Although my first attempt at drawing out the letters was really poor, I enjoyed doing this and found it interesting learning all the ins and outs of letters from cap-height to baseline (which I should have made the effort to draw out as a guide). I looked this up on thinkingwithtype.com.

Doing this has made me consider sketching my own typeface for the project, which I had ruled out before because I thought I’d be rubbish at it. My only problem would be coming up with an original idea.

I also had a go and sans serif fonts which I think turned out well.


Typeface Design:

I found this section called ‘typeface design’ on thinkingwithtype which I read through and I found the following questions particularly useful when thinking about what I want to do for my typeface.

Will the letters be serif or sans serif?

I think I want to create a sans serif typeface, but I’ll experiment with both.

Will you construct them geometrically or base them on handwriting?

I’d like to create a typeface with a script-like feel to it, or maybe base it on my handwriting. But I’m also interested in maybe creating one digitally or using objects to form letters. 

Will you work with historic source material or invent the characters more or less from scratch?

I will probably create them from scratch as that’s just the way I seem to work in general. By playing around with either sketching, adobe illustrator or different objects to create my typeface I should come up with something that I like.


Typeface or font?

Something that I found interesting whilst scrolling through the website was a section called ‘typeface or font’ as this is a question I am often asking myself. I always used to think that ‘font’ was a term that came from fonts on computers, but font just generally means “the delivery mechanism” of the letterforms. I find this defined it very clearly and will help in my future use of the words and within this project.

A typeface is the design of the letterforms; a font is the delivery mechanism. In metal type, the design is embodied in the punches from which molds are made. A font consists of the cast metal printing types. In digital systems, the typeface is the visual design, while the font is the software that allows you to install, access, and output the design. A single typeface might be available in several font formats. In part because the design of digital typefaces and the production of fonts are so fluidly linked today, most people use the terms interchangeably.


 

Modernism

International Typographical Style: Modernism Lecture

Todays lecture talked a lot about Helvetica and the varied views different designers have on it. I’ve always looked at Helvetica to be a plain, simple and dull typeface. However, after seeing the work of Josef Muller Brockmann, I changed my mind.

  • beethovenHis design is so simple yet effective by the way he has used Helvetica. He uses no uppercase lettering which creates a certain style and image. The way that ‘beethoven’ has not been made a big deal for example, by blowing it up, it has drawn more attention to it. The background design also draws attention to it by the way it is shaped. I love the clarity of this poster and it’s minimalism is refreshing.

Josef Mullar Brockmann, 1955, ‘Beethoven’

We also watched an extract from ‘Massimo Viginelli: Film Helvetica’. Viginelli explains how he disagrees that type should be expressive and this is why he likes Helvetica. However, I disagree with him as I feel that, especially with the range of type there is these days, all type is expressive and has a certain effect on a design.

However I do like what Brockmann has done with his design and I think I will try to incorporate my own typeface into a minimalist design like this to see if I can create a similar effect.

 

 

Typography Research

I decided to look at a typography timeline to get a good idea of the history of typography before taking on this project. All of the information I found for this typography timeline was taken from home.moravian.edu.


Renaissance, 15th-16th centuries:

1470: Nicolas Jenson creates first old style Roman typeface. Roman type was modelled from a European scribal manuscript style.

1523: Garamond typeface invented. Garamond’s letterforms convey a sense of fluidity and consistency.


Baroque, 17th century:

1692: Romain du Roi Typeface created by Robert Grajun (first cursive typeface)

1757: Baskerville Typeface designed. The Baskerville typeface is the result of John Baskerville’s intent to improve upon the types of William Caslon.

1722: William Caslon. Caslon’s typefaces were inspired by the Dutch Baroque types.


Neoclassical, 18th century:

1780: Bodoni typeface designed. Bodoni had a long career and his designs evolved and differed, ending with a typeface of narrower underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction.

1784: Didot typeface designed. The Didot family’s development of a high contrast typeface with an increased stress is contemporary


Romantic, 18th-19th centuries:

1816: Caslon IV produced the first sans-serif printing type in England for Latin. Caslon’s Sans Serif and the Grotesques, which followed on from this pattern in the 19th century.

1896: Cheltenham Designed. Cheltenham is not based on a single historical model, and shows influences of the Arts and Crafts Movement. Originally intended as a text face, “Chelt” became hugely successful as the “king of the display faces.”


Industrialisation, 19th-20th centuries

1904: Franklin Gothic and its related faces, are realist sans-serif typefaces originated by Morris Fuller Benton. Franklin Gothic has been used in many advertisements and headlines in newspapers. The typeface continues to maintain a high profile, appearing in a variety of media from books to billboards.

1927: Futura typeface designed. It is based on geometric shapes that became representative of visual elements of the Bauhaus design style.

1932: Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931, created by Victor Lardent at the English branch of Monotype

1957: Haas Grotesque (Helvetica) Designed Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas’sche Schriftgiesserei (Haas type foundry) of Münchenstein, Switzerland.