Study Guide

Let me know if you have anything to add.

-Amber

Whisenhunt - Univers

Designed by Adrian Frutiger for Deberny & Peignot in 1957, Univers was created as competition for Futura. Univers is has more flexibility in it uses and even be used for body text. This font has passed between several different type foundries in the past and is currently owned by Linotype. Frutiger reworked the Univers font family in 1997 and renamed the updated version Linotpe Univers. Past uses of Univers are difficult to find, however, in the 60’s and 70’s, it was possible to get a Univers print ball for the IBM Selectric typewriter. Apple, the first company to bring fonts into the personal computer age, used Univers as the keycap font on its keyboards until 2007 when they switched to VAG Rounded. Due to the clear readability of Univers, it is used in areas of the transportation industry, including the Metro system in Montreal, the BART system in San Francisco, and in the Frankfurt Airport. A surprising place to find extensive use of the Univers font is in the Walt Disney World road system.

Transportation isn’t the only place to use this clearly legible font, it is used by CNN for on screen graphics to accompany the news stories. ESPN used Univers on screen as well until 2010.

My layouts for this project will be using a "Universe/Solar system theme" I want to show the different weights for Univers and allude to its readability at great distances .

Albiter - Dante typeface

Dante

“The roman types that were designed in Italy in the late fifteenth and early sixteenth centuries and those that have since followed their style” are referred to as the old style typefaces. Old style typefaces are “the most popular typefaces for setting text.” The main “features of old-style types are the slight contrast between the thick and thin strokes of the characters and an oblique stress (evident in the thin parts of the o, which are offset counterclockwise from the top and bottom of the letter).”

Dante is an old-style typeface that was designed by Giovanni Mardersteig and Charles Malin in 1954. Mardersteig “started working on Dante after [WWII]… at the Officina Bodoni” in Italy. “For Dante, [Mardersteig and Malin] worked closely to develop a design that was easy to read. For example, special care was taken with the design of the serifs and top curves of the lowercase to create a subtle horizontal stress, which helps the eye move smoothly across the page.” “After six years of work, [Dante] was first used in 1955 to publish Boccaccio's Trattatello in Laude di Dante hence the typeface name.”

In the mid-1950s, Dante was first created in metal type; it was originally “impressed into paper - not onto it” (Monotype Imaging). Giovanni Mardersteig and Charles Malin collaborated to design Dante. Mardersteig was born Hans Mardersteig on January 8, 1892 in Weimar, Germany. He was a printer and typographer; he created books, “exemplifying the highest standards in the art of printing,” for Officina Bodoni (Encyclopædia Britannica). He spent a year in Scotland where he designed the typeface Fontana while working for Collins Cleartype Press. When he returned to Italy, he set up Officina Bodoni again in Verona. This “press specialized in small editions, printed with meticulous care on an old-fashioned handpress that occupied a room in his house. In addition to Fontana, he also designed the typefaces Dante, Griffo, and Zeno” (Encyclopædia Britannica). Mardersteig died on December 27, 1977 in Verona, Italy.

Charles Malin was a punchcutter from France. He collaborated with Mardersteig to design the typeface Dante. They began designing it after WWII, however, Malin died in 1955 before Dante’s successful released in 1957.

My concept/theme for the type specimen book is Dante's Inferno. I will cover the different levels of hell that are covered in the book/movie; going deeper in to hell. I will make the book look creepy with the different levels of hell as its setting.

Optima History

Optima was designed between 1952 and 1955 by Hermann Zapf, a German typeface designer from Darmstadt, Germany who also designed other popular types like Palatino and Zapfino. Optima combined the features of both serif and sans serif into a humanistic design. The capitals, much like Palatino’s, directly refer to the Roman capitals. It is a legible font that lends it self to a wide range of applications.

Optima wasn’t commercially released until 1958 by Berthold, one of the largest and most successful type foundries in the world. With Optima’s faux classy design a lot of designers gravitated toward it in the 60’s and 70’s for display and text lines as well as being used in brochures, catalogues and magazines. It was also used on the Vietnam Veterans Memorial Wall and in John McCain’s presidential campagn.

In 2002 Hermann Zapf and Linotype GmbH type director Akira Kobayashia redesigned the font family into what the called Optima Nova which contained 7 new font weights. Optima is now a trademark of Linotype corp. The Optima typeface, like all of Zapf’s designs, was widely admired and imitated a few times.

For my book Im going to do something roman with it. Either go along with the whole column theme like the pantheon and stuff. OR Trojan condoms. Roman, because Optima was strongly inspired by the writings on roman columns. Another idea is to play off of the vietnam memorial.

Davis-Bodoni

History: The famous typesetter, Giabattista Bodoni, was born in February of 1740 in Saluzzo, Piedmont, Italy. Giabattista was the son of a printer; he learned from his father and utilized his skills in the Vatican for several years. During his time there, he was under the guidance of the Duke of Parma, which proved to be a fruitful. Bodoni produced several spectacular quartos and folios that surpassed others at the time. When it came to type, Giabattista astounded the art world. His fonts were said to be “pseudoclassical” looking. Bodoni’s fonts were set apart by the contrast of the thick lines versus thin lines. Another notable attribute of his font was the sloped serif accompanied by the ninety-degree angle baseline serif. At the same time, Baskerville and Didot tried to compete but Bodoni’s font rose above the rest. Later in Bodoni’s career, he published the book "Manuale Tipografico" which included 100 roman, 50 italic and 28 Greek minuscule fonts. In 1813, Bodoni died in Parma, Italy at the age of seventy three.

Type: The Bodoni font has a few variations in style: Roman, Italic, Bold, and Bold Italic. The rights to Bodoni are owned by the Bauer Type Foundry, which also owns several other popular fonts. Bodoni is used in fancy, luxurious looking advertisements. Typically, it is used as a headline font and is rarely used for body copy. Over the years, Bodoni has been revived into new styles while still maintaining the signature look. Designers complain that when Bodoni gets smaller than twelve point, it begins to lose its readibility.

Concept: For my concept, I’d like to model it after a fine dining menu/wine menu. In the menu I would like to include a five-course menu, each course representing a different style of the font. I want to make it look upscale and formal.

Cole.Times New Roman

Times New Roman is one the most commonly found serif typefaces. It's readability makes it great for body copy and is often used in academic papers, business documents, books, and periodicals. It was commissioned by the British newspaper, The Times, in 1931 and was designed by Stanley Morison. Morison had written a letter of critique to The Times, expressing his opinion that the paper was badly printed and typographically out-of-date. He was subsequently hired to oversee the creation of a new typeface. It was to be based off of the serif font Plantin and was drawn by Victor Lardent. The Times used Times New Roman for forty years but was forced to change with the ramifications of new print technology. It was redrawn to utilize better economy of space as the physical size of the newspaper changed, but all of the subsequent typefaces remained fairly simple to Times New Roman.
Morison was working as a typographic consultant to the Monotype company at the time. He was a self-taught designer and worked to update and revive many old typefaces, such as Bembo and Baskerville. He is largely responsible for the great expansion that Monotype went through during the period.
I would like to show that Times New Roman is actually a strong typeface, despite the flak that it catches for being so ubiquitous through academic papers and legal documents. The fact that Microsoft owns it's licensing doesn't help its cause either. Rather than comment on how overdone it may be as a typeface, I'd like to use it for its traditional purpose and highlight the good things about it. My first reaction was to stay away from doing the booklet as an old-time newspaper, but I think with some good textures, simple illustrations, and a good layout I'll be able to revive the personality it had as a very prolific 20th century typeface.

TYPE SPECIMEN-TRAVIS BARRON (see my comment)

King_clarendon

Clarendon font started off as a design exercise to create a font that could highlight text within normal type. this was almost always done by using italics, and Clarendon is nominally associated as the bold face – as in it was designed to look nice along with standard Times fonts.

Although, there were other typefaces with a similar “look” appearing at earlier dates, the Clarendon font seems to be most appropriately associated with an origin date of 1845, and by a Robert Besley of Fann St. Foundary. Although, Besley went on to gain further fame in later years as a Mayor of London

he even went on to patent the font, marking the first patant of a typeface, although this particular hold lasted for only 3 years. But during this short time frame, the Clarendon font became very popular, and once the property hold was released, many a copycat font were produced much to the chagrin of Besley himself

Clarendon font entered pop-culture history by using it in the wild western in North America (i.e. “wanted” or “reward” signs), and other, where Clarendon variants (specifically “French Clarendon“) took on a circus look (it’s even known as “Circus Letters” in some texts).

Anyway, it wasn’t until the 1920s when Clarendon, once again, experienced a resurgence of sorts, and like before, this was primarily due to pragmatic reasons. You see, at this point in history, newspaper production rocketed to new heights, and as a result, the printing technology became a lot more efficient as well as a lot faster and rigorous. However, a downside to this, was the fact that many of the type sets used were taking a physical beating resultingProxy-Connection: keep-alive
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n the plates being damaged (especially when the lines were especially thin).

Consequently, a number of companies attempted to produce new fonts that would still look good, but could also function in the wear and tear realities of the new printing demands. Here, the Clarendon font stepped in.

One of the first companies that began to experiment in this way was Mergenthaler Linotype Company. After four trials they finally issued a typeface that was based on a clarendon/ionic model from the 1850s. The name of the typeface was Ionic No. 5…. The typeface was very successful…”Within a year, the typeface had been adopted by some 3,000 newspapers all over the world.” (Miklavcic, 2006)

Finally, Clarendon-like fonts experienced another boost during the 1950’s. This, just after the World War 2, coincided with a general increase in advertisement productions (the economic boom right after the war). Typography as a whole was caught in an intensive move to design new and innovative typefaces.

Anyway, this led to a large number of fonts which many feel fit within the Clarendon look. Including the current incarnation of the font, which was revised by Herman Eidenbenz in 1953.

My Idea is to make the book into a wanted poster. Beseley will be the crime boss, the rewards will be the different weights of fonts. I am slightly stuck from there .

Price_Frutiger

The designer Adrian Frutiger created the typeface Frutiger. Born and raised in Switzerland, his early interest in sculpture was discouraged buy his father, but has influenced his typeface design overall. He primarily studied calligraphy and was recruited by Charles Peignot, of the Paris foundry Deberny Et Peignot where he crated his first commercial typefaces beginning in 1954, President, Ondine, and Meridian. In 1956, he created his first slab serifs, Egyptienne, then the popular Univers.
Due to the popularity of Univers The French public transit authority asked Adrian Frutiger to commissioned for the signage in the French, Charles de Gaulle International Airport in 1968. The Swiss designer wanted a typeface that was modern and legible at different angles, sizes and distances. He adapted a look that was clean like his own popular font Univers, but had more organic proportions like that of Gill Sans.
Frutiger designed the font and its various weights all by hand and the working title of the typeface was Roissy. Some of its features include prominent ascenders and descenders, as well as a wide aperture to easily distinguish the letters from each other. The D Stempel AG type foundry asked Frutiger to make the Roissy lettering a typeface for Linotype. He made adjustments to the stroke thickness and extended the range of weights and felt that his new sans-serif was an expression of the 1970’s and 80’s. The Roissy type was released by Linotype in 1977 as Frutiger.

My concept for the booklet, is going to be a travel guide, but not to interesting cities, but to random, boring towns, that do not have any real attractions. Or to cities that produce the most pollution. Because the type was designed for an airport signs, I thought a guide that you might find in an airport would be appropriate.

Sandoval-News Gothic;Morris Fuller Benton

HISTORY

News Gothic, a sans-serif typeface, was designed by Morris Fuller Benton. It was released by the American Type Founders in 1908. Benton not only designed the typeface with two lighter weights and a medium weight using the name "News Gothic," but also a light weight version called "Lightline Gothic." One might notice its similarity in structure to Franklin Gothic; this is likely because it was also designed by Benton.

Benton was born on November 30, 1872. His father, Linn Loyd Benton worked in typography and was the inventor of the pantographic punchcutter, which greatly simplified typesetting. After establishing a drawing office, Linn Loyd Benton entrusted Morris Fuller as his assistant.

Morris soon took over, and after the founding of the ATF, Benton became the head of the design department there from 1900 to 1937. He worked relentlessly, creating type designs every year, which, by the end of his career, totaled to 221 typefaces.

The font itself offers a more humanist tone when compared to other grotesque typefaces. It retains classic, two-story structures for the lowercase a and g. Stroke width also varies slightly throughout which creates a more organic feel than more geometric typefaces. Its uses vary from newspaper and magazine publishing to iconic pop-culture designs. ABBA used News Gothic for its logodesign. Lady Gaga used the typeface for her album cover of The Fame Monster; however, there is dispute whether it is news Gothic or Fanklin Gothic. Chances are, Benton wouldn't mind it either way. News Gothic Bold was used in the opening crawl text for Star Wars. Polaroid, from the late 50's to the 80's, adopted the typeface for its logo as well as most of its packaging and documentation.

News Gothic remains, to this day, a very versitile typeface offering a moderate tone and design in a sea of geometric and neo-grotesque forms. Its classic execution and more recently expanded family of weights and styles makes it a must-own for designers.

CONCEPTS

I like the idea that a couple of musical artists have used the font in their designs. This makes me think about the little booklets that often come with CDs. Maybe making News Gothic a band or the debut album for Morris Less or Fuller or Hell Benton. Song lists, lyrics in different weights, etc.

Another idea would be to play off of the Polaroid factoid. Basically have a Polaroid catalogue-thing. I dunno, that's a less exciting idea. Bam.

Claypool - Perpetua

History and Bio

Perpetua is classified as a Roman typeface developed for machine composition by Monotype Corporation. It's timeless design allows the Roman typeface to live up to its name - eternal. Developed by Eric Gill, the typeface was completed as a book face for the limited edition publication of the “The Passion of Perpetua and Felicity” in the year 1928 and the book was printed in 1929.

In 1923, Stanley Morison was appointed Typographic Advisor to Monotype Corporation. Morison's plan was to redesign historical typefaces with a modern interpretation. Morison approached Eric Gill to design a new typeface in 1925. As a result, Perpetua was designed. Though it is now recognized as one of the most-used typeface families for fine book typography, Perpetua was not instantaneously accepted by Monotype management when initially developed. The first punched letters of the typeface were rejected by Monotype due to many factors including the corporation was not yet adjusted to Morison's new ideals in steering the company in a new direction from it's conservative roots. Afterwards, Eric Gill was soon commissioned to develop a sans serif typeface consequently, the finalization of Perpetua was put on hold until an italic counterpart could be completed. In 1931, Gill finished the Perpetua family by designing an italic type with roman serifs while still maintaining fluidity. In regards to Perpetua, Stanley Morrison said the following quote, “The design... may be judged in the small sizes to have achieved the object of providing a distinguished form for a distinguished text; and, in the large sizes, a noble, monumental, appearance.”

Gill designed Perpetua with the intent of making it a modern classic. He did so by basing it's design on engravings in the classic Roman lettering of the Trajan column. The formal impression and classic notion tied with Perpetua is due to it's small diagonal serifs and it's medial numbers. Perpetua has withstood the test of time and remained one of the most used typefaces for fine book typography.

Not only was Eric Gill a typographer but he was also a sculptor and woodcutter and illustrator. Gill was born in Brighton, Sussex in 1882. He attended college in Chichester. After college he studied at the Central School of Arts and Crafts in London under Edward Johnston. Eric Gill designed book layouts and typeface designs. He also produced a number of book illustrations, woodcuts, watercolors and graphic that are mainly evangelical content. Unfortunately, Gill eventually died of lung cancer in Uxbridge Middlesex in 1940.

Concept

Because Perpetua was originally designed for the publication of "The Passion Perpetua and Felicity," My concept will be a chapter book in a style similarly to a fine book.

Morgan - Rockwell

HISTORY

The Inland Type Foundry created the Rockwell typeface in 1910. The company later merged with 22 other type foundries to form the American Type Founders (ATF) in 1912.

ATF represented about 85 percent of all type manufactured in the United States at that time. ATF revised Rockwell in the 1920’s under the direction of Morris Fuller Benton.

Benton was the chief type designer at ATF from 1900 to 1937 and is known today as one of the most prolific type designers in history. Benton completed 221 typefaces, including: Franklin Gothic, Bank Gothic, Broadway, ATF Bodoni, most of the Century Type Family and many more. Benton’s strong aesthetic design sense and success in technology was probably influenced by his father, Linn Boyd Benton, who invented the pantographic engraving machine, which was considered advanced for its time in typeface design. Morris worked on many of these machines with his father at ATF, where the machines were revised to impressive levels of precision.

The Monotype Corporation, a company specializing in typesetting and typeface design, produced a new version of Rockwell in 1934. Under the supervision of Frank Hinman Pierpont, some errors occurred during this revision where Rockwell was referred to as Stymie Bold, which created some confusion about Rockwell’s identity that still exists today.

Despite this speculation, Rockwell is known today as a popular slab serif. The Rockwell font family includes: Regular, Italic, Bold, Bold Italic and Extra Bold. Rockwell is mono-weighted, characterized by its geometric feel with thick, block-like serifs. Because of this nature, it is not best for lengthy bodies of text, but great for advertisements, headlines, posters, logos or album covers.



CONCEPT

Rockwell was passed around to a lot of different designers, including one who misnamed him and created some uncertainty of his true identity. I get this feeling that Rockwell is this orphan baby that doesn't know his real parents. He is in an identity crisis after being circulated to multiple foster homes and has yet to receive closure because many people speculate that he is not Rockwell, but rather Stymie Bold. In order to cope and move on, Rockwell grows up and creates his own family. I think it would be cool to display his family in picture frames or old silhouette photos.

Univers history and concept

Univers

Univers is a Neo-Grotesque, sans-serif typeface that was designed by Adrian Frutiger in 1957 for Deberny and Peignot Typefoundry. Neo-Grotesque is a style of sans-serif typeface from the 19th century, also associated with Helvetica, Arial, Aksindez Grotesque, and Franklin Gothic. Adrian also created fonts like Egyptienne, Frutiger, and Avenir. Univers is mostly associated with a Swiss style of design. In 1960’s and the 1970’s IBM would use this font on their type writers. This font was also used on the Apple 2003 PowerBook G4 Keycaps. In some ways this font looks like Helvetica but has a more modern look to it. Today, the Univers type family consists of 44 faces, including oblique, extended, black, and condensed styles and weights.

My concept

I plan to go with the idea of making my book look like safety hand out or to make it have an air port feel with the signs you might see in an airport.

Boothby, Concept and history of Palatino

Palatino history-
Out of many of the old style typefaces, Palatino has become one of the most common fonts used to this day, having five other versions of it within the palatino family. Palatino is a classic serif typeface designed by German typeface designer Hermann Zapf. Named after the 16th century Italian master of calligraphy Giambattista Palatino, it was released by the Linotype Foundry in 1948 for public use. Palatino was one of the most famous and widely used fonts of the time because of its new look and legibility and since has increased in popularity. It was based on the hummanist fonts of the Italian Renaissance, and unlike most renaissance typefaces that used smaller letters with longer vertical lines (ascenders and descenders) and lighter strokes, Palatino has larger proportions and is much easier to read. In 1999 Zapf soon added more versions of the typeface to its family, including Palatino Sans, Palatino Informal, Palatino NOva, and Palatino Arabic. Palatino typeface has influenced many other new fonts and will still be commonly used for graphic designers, ads, packaging, and more.

My concept for the type specimen book.
The concept i'm shooting for on the type specimen book deals with the DreamWorks movies. The DreamWorks logo was designed using the palatino typeface, and it's the most popular use of this typeface. I plan on recreating some of the DreamWorks movie posters for the pages of this book. To list the versions/categories of the Font's family (italic, bold, etc..) I will place them as if they were credits for a movie and of course the producer and Director will be the founder of the palatino typeface. I also plan to incorporate movie film strips for the borders on some of the pages for a cinema look.

Hogan-Perpetua

Classified as a transitional typeface, Perpetua was designed by a British designer named Eric Gill. Born in Brighton, Sussex February 22, 1882, Eric Gill was the jack of many trades. He was not only a type designer; he was also a sculptor, a printmaker, and successful as an illustrator, engraver, and essayist. Gill started his studies as an architect with the practice of W.D Caroe in London. Frustrated with his training, Gill decided to take evening classes at Westminster Technical Institute and calligraphy at the Central School of Arts and Crafts. In his Calligraphy class, he studied under Edward Johnson, a heavy influence throughout his life and a large impact in directing his future because it wasn’t until these evening classes that he discovered his love for designing. In 1903, he gave up his architectural training to become a calligrapher, letter-cutter, and a wood engraver.

In 1925, at the request of Stanley Morison (Designer of Times New Roman), Gill began working on the typeface Perpetua for the Monotype Corporation. Its typeface is recognized as transitional due to its high stroke contrast and bracketed serifs and the letters of the face were designed around Trajan influenced forms. Gills design for the typeface was accompanied with two italic faces called Perpetua Italic and Felicity. His first Italic typeface, Felicity, was met with a great deal of criticism from Monotype management and actually stalled his development of the Perpetua typeface until his second Italic was created. In 1929, Perpetua Roman was issued as a Monotype Series. While waiting for the final revision of Perpetua, Gill was commissioned to draw Gill Sans, another block to the development of Perpetua. The interesting idea about the typeface Perpetua is that its’ completed family wasn’t made available to the public until 1932; over 7 years after Morison first approached Gill with the idea of creating the typeface Perpetua. For all its’ struggles in the developmental stages, Perpetua is still used widely today. In fact, in November 2007, Perpetua became the word mark of the Barack Obama presidential campaign.

Most of Gills earlier designs were done in collaboration with Monotype Corporation. Eric Gill used type as and outlet almost as his main source of artistic expression was former through stonecutting as well as printmaking. In later developments of his start to typeface design, he produced Golden Cockerell Roman, Solus, Joanna, Aries, Gill Floriated Capitals, Bunyan, Pilgrim, and Jubilee.

Due to it's recent use in the Barack Obama campaign I was considering using that presidential campaign as my concept. It is relevant to today with the fairly recent campaign and has become a typeface we are all familiar with seeing whether we realize it or not.

Adobe Jenson- Austin Beavers

Adobe Jenson

Adobe Jenson typeface created by Robert Slimbach. Robert Slimbach first began his designing career as a screen-printer running his own shop printing mostly greeting cards and business cards. After some training in Calligraphy, he began to work for the International Typeface Corporation in New York. Here he created two typefaces ITC Slimbach and ITC Giovanni, but he would become more known for his work with Adobe. Slimbach has created many typefaces while working with adobe like Garamond, Myrid, Minion and Utopia, but one of his most famous typefaces is Adobe Jenson. It took Robert Slimbach about five years to create Adobe Jenson. Jenson’s uppercase letters is based on inscriptions found on Roman ruins, and its lowercase letters came from Italian scholars as a way of copying books. When Robert Slimbach created this typeface in 1995 he was looking at an earlier ancient moveable print type that was created by Nichols Jenson during the mid-15^th century. He would take Hundreds of photos of Nichols Jenson’s Books and enlarge the type and compare the different letters. Nichols Jenson’s books where pressed so each letter would come out somewhat different because ink would bleed differently around each letter. Robert Slimbach would then compile his sketches, and create a digital copy.

James- Times New Roman

Times New Roman was introduced in the 1930’s. The specific creator of this type remains a controversial issue but Stanley Morison is responsible for the introduction of Times New Roman. At the time, Morison wanted to update The Times newspaper, which was using a typeface called Times Old Roman. They appropriately named the new and updated version, Times New Roman. The Times continued to use Times New Roman as their primary typeface for forty years.

When personal computers came about, Times New Roman was the standard font for documents, which still can be seen today. Times New Roman is a serif typeface that has a very clean appearance, which make it a practical typeface. The substantial lines and weight of the typeface give Times New Roman a quiet confidence. Originally it was designed with newspaper printing in mind, but now it is a common font that is easy to read and can be used in many different aspects of type.

My concept for the book is based on newspaper layouts. I thought this was appropriate since Times New Roman was created specifially for a newspaper. I want to make columns and that give it a newspaper feel. I also want to pay attention to the placement of the date, page/issue number, etc. in newspapers.

Sosa - Helvetica

During the mid-1950s a man by the name Edouard Hoffman, who was part of the HAAS type foundry, strived to create a more modern type based off the Akzidenz Grotesk fonts. He felt they needed to be updated and refined, so Hoffman worked with Max Miedinger, who crafted the designs of their Grotesque sans serif typeface. When it first came out it was introduced as ‘Neue Haas Grotesk’. In Germany during 1961 a company named D. Stempel AG produced the type under the name ‘Helvetica’, which was the Latin word for Switzerland. Helvetica became widely popular due to its well defined-forms and neutrality. It has been considered the Swiss International Style. During the 1960’s through the 1980s, Helvetica has been refined and given more weights by the company Linotype. Due to its popularity it has spawned many imitators, one being Arial created by Monotype for IBM. They both use the same character widths, which has caused them to be widely used for Mac’s and PC’s. Helvetica is still popular, and loved today by many designers.

Max Miedinger designed the Helvetica typeface. He was born in Zurich in 1910. Around the late 1920’s he started to train as a typesetter and eventually went to go work for Edouard Hoffmann. Hoffman was the director of the HAAS Typefoundry. When Max first started working there he was a salesman, but the designer in him pushed him to create a sans serif typeface during his free time. He created the Typeface Haas Grotesk, which we now know as Helvetica. HAAS partners, D. Stempel AG and Linotype expanded this design and really took it to the next level. Miedinger was paid a stipend for his contribution to their success, which was a very uncommon practice at the time. He later died in 1980.

My Concept:

When I think of Helvetica I think about how much we see it in our corporate world and everyday lives. I always associate it with a very modern lifestyle. So for my book, I was thinking about focusing on a company that uses it and is widely recognizable, Apple Inc. I was picturing making it the style of iPhone Apps or an iPod play list. For example if it was the iPod idea, I would have the “Artists” be the Designers, the “Songs” be the different weights and styles, and so on. It still is a rough concept but I feel like it could work. Maybe if I lay out the pages the way you would see if you were listening to your Ipod, with the Album artwork being a particular weight or style (boxed in), and all the other info is there for it to the right of it. Let me know what you think, I hope I am not missing the idea of the book here.

Mendoza, Groteaque

Grotesque is an early sans-serif font that was developed in the 19^th century. It was widely used and influenced many other typefaces that developed such as Helvetica and Univers. It is thought to be derived from Didot because of similar shapes and sizes after the serifs are removed. It was originally used as a term for sans-serif fonts in Britain and was commonly called “gothic” in the United States. They were named for their ugly appearance and many people felt as if the font itself was primitive especially coming from the classical era. Capital only faces of this style were first available from 1818 by William Caslon IV until 1832 when William Thorowgood produced the first sans-serif type with lowercase. It first emerged in the machine age and was used in display type, sign writing, and architectural handwriting. They were functional commercial faces designed for high impact. Other versions of grotsque were added in the late 1050’s to enlarge the typeface family. More sans-serif fonts developed through the 19^th century, but were only seen as display type until improvements in mechanized punch cutting were made, then more sans-serif fonts were designed specifically for text setting toward the end of the century.

The official designer of the typeface Grotesque is William Thorowgood, but I couldn’t find any history on him. So I decided to do the history on the company that it is associated with which is Berthold. Berthold was one of the largest and most successful type foundries in the world and has long been associated with type design. It was established in 1858 by Herman Berthold and was based in Berlin. The company introduced many new typefaces and was one of the main companies who developed typesetting machines. In 1993, Berthold ceased operations due to financial troubles, however Berthold Types Ltd. which is based in Chicago, now takes over the distribution of the Berthold digital type library.

One of the concepts for my booklet is American Red Cross. I read that the grotesque and georgia typefaces are the official typefaces of the american red cross and anything published by them must be made using either of the two typefaces. I was thinking of showing the different ways that the red cross helps people and the different ways that people can help and donate to them. Like providing shelter i could show cots w/ blankets and pillows or blood donations in bags or something. My other idea was doing different well known signs since it was used at first as display type and sign writing. i'm not sure layout wise how i'd accomplish this since with the big paragraphs like the history, but i'm thinking everything else could come from signs inspired by Vegas and NY or something.

McClain - History of Clarendon

History and Bio

Clarendon is a slab-serif typeface created in 1845 by typographer and Lord Mayor of London, Robert Besley. The typeface was originally created for use by the Fann Street Foundry, a type foundry that specialized in display fonts. The name "Clarendon" comes from the Clarendon Press, a branch of the Oxford University Press. Because of Besley's foresight and business acumen, Clarendon holds the distinction of being the first patented typeface in history. However, because of the popularity of the typeface, the patent didn't stop imitators from duplicating the typeface and flooding the market with bootleg versions of Clarendon.

Robert Besley was born on October 14th, 1974. He learned how to print in his father’s shop when he was a young man. When the print workshop was inherited by his older brother, Robert was employed helping his brother manage and print the Devenshire Chronicle, a modestly circulated liberal newspaper. It was here Besley gained his appreciation for type setting and liberal politics. In 1820, Besley joined the Messrs. Thoregood (Fann Street) type-foundry, the firm that he would later become head of. After an illustrious career as a type designer, Besley began his career in politics around 1855. Between 1855 and his death in 1876, Besley would hold many political offices including Sheriff, Lord Mayor of London and Governor of the Stone lunatic asylum.

Up until recently, the US National Parks Service used Clarendon in map legends and directional signs used in national parks. The parks service now uses a font called NPS Rawlinson Roadway, a typeface designed specifically to replace Clarendon. Rawlinson Roadway takes up 15% less space and is 11% more legible at long distances.

Concept

I thought I make use of Clarendon's association with signage in State Parks. I plan on using road signs to highlight the different aspects of Clarendon like government signs guide visitors through a park.