QUIRZAA type-face
by Guido Groeneveld
MY PROCESSFOLIO 2010/2011
3 BAGraphic DesignSint-Lucas Antwerpen
!is book contains the process of designing Quirza, the typeface, my main-project in my third bachelor-year at Sint-Lucas Antwerpen.A collection of sketches, inspiration, research and the development of this typeface accompanied by commentary or reviews of others.
QUIRZAA type-face
by Guido Groeneveld
!is book has been made by Guido Groeneveld as a part
of his graduation project at Sint-Lucas Antwerpen.
!"#$%[email protected]
© &'(( Guido GroeneveldAll rights reserved.
)*+#$Provo, Gierle
)%),*Invercote -./ gsmSoporset 0// gsm
Special thanks to Jo De Baerdemaker, Joke Gossé, Erik Spiekermann, Octavio Pardo Virto, Christina Somorjai and all his teachers at Sint-Lucas Antwerpen.
5
INTRODUCTION
FONTS inUSE
FONTS IN USEInstead of a small corner somewhere in a colophon at the back of this book, I decided to use the 1rst real page to give credit to the designers of the wonderful typefaces that I used for designing this book. 2ey are the people that make reading a pleasant experience and they put a lot of time and e3ort in design-ing these typefaces.
Ole Schäfer FF FagoFF Fago Condensed is used for all titles and pagenumbers. FF Fago Regular is used for image-captions.45, 6!789,* ((:;') stud-ied graphic design at the Fachhochschule Bielefeld. From (::<-:: he worked at MetaDesign as type designer and typogra-pher. His typeface for the festival of architecture City of Glasgow made him known outside from Germany. He was also involved in the exten-sion of the == bestsellers "" Meta and "" Info as well as in the work on the new weights of #$% O&cina. Since (::: he works as a freelanced type designer in Berlin.
Carol Twombly Chaparral ProChaparral Pro is used for bodytext.Carol Twombly (born (:<:) is an American calligrapher and typeface designer who has de-signed many typefaces, including Trajan, Myriad and Adobe Caslon. She worked as a type designer at Adobe Systems from (:>> through (:::, dur-ing which time she de-signed, or contributed to the design of, many type-faces. She retired from type design in early (:::, to focus on her other design interests, involv-ing textiles and jewelry.
TABLE OF CONTENTS
INTRODUCTION 9A short introduction on who I am and why I started with designing this typeface.
RESEARCH UTOPIA 13!e brief for our year-assignment on Utopiaevt datum
UTOPIA: ESPERANTO 15short explanation on Esperanto
PROCESS: FIRST IDEAS 17How the 'rst ideas came to be for Quirza.August -/0/
NOORDZIJ: THE STROKE 19About Gerrit Noordzij’s book on writing.
RESEARCH TYPEDESIGN 21Visual study of the theory of Noordzij in drawing.Explanation of the di(erent types of contrast.
UTOPIA: NEW ALPHABET 25About Wim Crouwel’s New Alphabet
PROCESS QUIRZA 27October -/0/
TYPESTUDIES 29A few typefaces drawn, sketched, studied.October -/0/
UTOPIA: PANTOGRAPHIA 33On Edmund Fry’s ambitious Pantographia.
PROCESS QUIRZA 35November -/0/
MAGAZINE TYPOGRAPHY 37Article by John D. Berry on magazine typography.
PROCESS QUIRZA 39December -/0/
LOWERCASE TYPOGRAPHY 43Article from the blog on a lecture of Wim Crouwel.
PROCESS QUIRZA 45December -/0/
PROCESS QUIRZA 53January -/00
READING & THE HAGUE 57About the the masterprogrammes in type-face design and visiting them.
PROCESS QUIRZA 59January -/00
PROCESS QUIRZA 61February -/00
CALLIGRAPHY WITH YOMAR 65About a two day calligraphic work-shop with Yomar Augusto.
PROCESS QUIRZA 69February -/00
DICK DOOIJES 73About typedesigner Dick Dooijes’ life and work.
PROCESS QUIRZA 75March -/00
W.A. DWIGGINS 81About typedesigner William Addison Dwiggins’ life and work.
PROCESS QUIRZA 83April -/00
BRAM DE DOES 91About typedesigner Bram de Does’ life and work.
PROCESS QUIRZA 93thin & bold tryouts
PROCESS CALLIE 95A digitised version of some calligraphy exercises.
PROCESS QUIRZA 99Trying italics and some di(erent weights.
PROCESS QUIRZA 101Showing the typeface
UTYPOGRAPHIC TIMELINE 111An overview of a few centuries where I high-lighted persons, events and typefaces that were very important to my opinion.
TABLE OF CONTENTS
9
INTRODUCTION
INTRODUCTIONI am ?@+A" ?*",#,B,5A. I am passionate about art and design. Music and plastic arts are my natural way to express myself and communicate to the world. With my work I want to engage people to care.
In September &'((, I will 1nish my bachelor’s de-gree in graphic design at Sint-Lucas in Antwerp. I chose this study so I could improve my skills and knowledge in visual arts. An Erasmus exchange to CD!"5% E%DD%#% in Bar-celona in &''> made me question my choice to be-come a graphic designer.
After my return in Belgium in &'':, I interrupted my studies and started working as a store-manager for an Apple Reseller. Mean-while I carried on design-ing other projects and invested time in improv-ing my graphical skills.
more on the next page
11
EARLY TYPELOVEReading ‘Stop Stealing Sheep & 'nd out how type works’) got me to inter-view C*+F 6)+,F,*G%##H at CA,#D)+,F,*G%##I in Amsterdam. His passion inspired me to explore the design of typefaces. Eager to learn more, I re-entered in 6+#$-J@!%DK with a newfound passion.
In September 2010, I started with typeface design. With little knowl-edge but great enthusi-asm I decided to design a sans-serif text-letter.Main purpose: the learning process. My teachers encouraged me and gave me the freedom to work on this complex assignment. L" M, N%,*A,G%F,* o3ered continuous feedback on the design process and proved to be a great mentor. I com-menced reading the stan-dard works by Noordzij, Bringhurst and Unger and studied a number of
typefaces, while continu-ing working on my own typeface. Since January L"F, ?"DDO, researcher and teacher at Sint-Lu-cas, has been my tutor.
PQhttp://www.adobepress.com/ bookstore/product.asp? isbn=0201703394
HQwww.spiekermann.com
IQwww.edenspiekermann.com
K www.sintlucasantwerpen.be
INTRODUCTION
12
UT OP IA
RESEARCHIN
G
13
RESEARCH UTOPIA
RESEARCH UTOPIAAnalyze, document and research in group the term ‘Utopia’. Present the results via a deliber-ate and suitable medium. Develop an a personal project by own interest from this research.
I was part of the group that researched “Uto-pia & Literature”. Where I put the accent on my research in language and typography. Soon it became clear that my personal Utopia was becoming a typeface designer, which led to more visual and theoretical research in that area.
In this book you will 1nd di3erent forms of re-search. Some are more relevantly in the context of Utopia. Other research is theoretic or visual research into type design. Furthermore you can 1nd information about other type designers or events that have been an inspiration to my work.
!ur "#tr$a lingva %unda&nt',(omp)nan* unu la $ia+,,a popoloj far- en konsento
.nu grandan rondon fam/ia+.0ia d/igenta ko1gar23n lab4o paca " laci56,
5is la 7a son5o 8 l’homaro94 :*rna ;n’ efektivi5<
15
RESEARCH UTOPIA
Left: German Late Medieval
(ca. 1370s) depiction of the
construction of the tower.
Right: A part from the Gospel
of John in Esperanto
Left-page: The third verse of
the Esperanto-anthem set
in Feel by Alejandro Paul
Because one of the biggest obstacles in reaching Utopia is the great distance between cultures, religions and wealth—at least that’s what I think—language & communication are very important in this matter. 2at’s why the invention of Esperanto is so inter-esting to me.
Where the scattering of the peoples over the world started with the confusion of languages, Esperanto tries to bring people from di3erent cul-tures closer by speaking the same language that aimes to be politically neutral and easy to learn for everyone.
RESEARCH: ESPERANTO
16
PROCESS QUIRZA
17
FIRST IDEASAfter a short period of sketching I started to work in Adobe Illustra-tor. With only an idea about how I wanted the ‘n’ and the ‘h’, I started drawing to realize very soon that I had too little knowledge and informa-tion about the typeface that I wanted to design. It became a forced modular design. 2e design-choices weren’t delibirate and so I had very little control over it. A good moment to realize that I had to do more research and dig deeper in some typethe-ory and sketching.
18
19
RESEARCH TYPEDESIGN
NOORDZIJ: THE STROKE2e text is typeset by R,@D A, L"#S and T+U N,,$D in RC== Ruse, designed by ?,**+$ T""*AV+U.2e bodytext is left-justi1ed and hyphenated. Every paragraph starts with a W,<mm text-indent.2e book is divided in nine chapters, two forewords ((:>< & &''<), a note on the translation and index of texts.Every chapter starts on a new page. 2e title in the same size but in small caps centered above the bodytext.2e book contains >> pages, excluding cover and back. 2e pagenumbering starts on p; and ends on p>X. 2e pagenumbering is on the outer sides of the spread. (>mm from the bottom and &Wmm from the outer side. 2is book is a paperback, glued, six quires. 2e pageformat is (&<mm by &':mm. 2e margin at the top is (;mm and W(mm at the bottom. 2e outside margin is &'mm, the inside margin (Wmm.
!e stroke is Noordzij’s theory on the written letter being the basis for the typographic letter. In nine chapters he ex-plains this interesting but sometimes very di&cult theory with words and images.2e 1rst publication of this book was in Dutch, (:><. By Y%# A, ?%*A,, Zaltbommel.2is edition is the 1rst in English, translated by Z,$,* C##,D"# and published by [\)7,# Z*,DD, &''<.2e cover presents his famous cube that shows the transition of weight ammount and type of contrast. 2e slice of glyphs at the front of this cube depicted in black shows pure translation contrast, bold in the right most column and light on the left. 2e vertical axis shows hight contrast at the top and low contrast at the bottom.2e slice of characters at the back of the cube shows the same two dimensional transition of weight and ammount of contrast but for the expansion type contrast. 2e whole cube is 1lled with all transitional forms.
left-pagepage 36 image sample
cover of the book with the contrast diagram
right-pagepart from the TEFF Ruse specimen
21
RESEARCH TYPEDESIGN
counterpoint
TRANSLATION2e contrast of the stroke is the result of changes in the direction of the stroke alone, because the size of the counter-point is constant and the orientation of the counterpoint is constant.
ROTATION2e contrast of the stroke is the result not only of changes in the direction of the stroke, but also of changes in the orienta-tion of the counterpoint. 2e size of the coun-terpoint is constant.
From The Stroke by Gerrit Noordzij
22
23
RESEARCH TYPEDESIGN
EXPANSIONthe contrast of the stroke is the result of changes in the size of the counter-point. 2e orientation of the counterpoint is constant.
From The Stroke by Gerrit Noordzij
above
Pointed-pen exercise
left-page
First try-out for a letter-
ing with pointed-pen
24
In 1967 ontwierp Wim Crouwel zijn New Alphabet. Deze voor de kathodestraalbuis ontworpen letter bestaat, gezien de mogelijkheden van de straalbuis, alleen uit horizontalen en verticalen.
25
RESEARCH UTOPIA
New Alphabet is a personal, experimental project of ]+G ^*"@_,5P. 2e typeface embraces the limitations of the Cathode Ray Tube technology – used by early screens and phototypesetting equipment – and thus only contains horizontal and vertical strokes. Conventional typefaces can su3er under these limitations, because the level of detail is not high enough. Crouwel wanted to adapt his design to work for the new technologies, instead of adapting the technologies to meet the design. Since his letter shapes only contain horizontals and verticals, some of the letters are
unconventional, while others are di`cult to recognize at all. Because of this, the typeface was received with mixed feelings by his peers.Most of the letters are based on a grid of < by : units, with a<-degree corners. 2ere is no di3erentiation between uppercase and lowercase. Many of his peers were of the opinion that the design was too experi-mental and that it went too far. So much so, that it got a lot of newspaper coverage, which sparked a lively debate. For Crou-wel it was mostly a theo-retical exercise, ‘!e New Alphabet was over-the-top and never meant to be real-ly used. It was unreadable’
WC
above
Wim Crouwels initials
left-page
Explanation about the New
Alphabet in Dutch from
Wikipedia set in the digitized
version of the New Alphabet
by Freda Sack and David Quay
from The Foundry in London
RESEARCH: NEW ALPHABET
From Wikipedia
26
27
PROCESS QUIRZA
PROCESS 11/10Still working in Adobe Illustrator, I already gave up this modular system and tried to get real let-terforms. Making words as soon as I could. But the lack of insight in the proportions and weight of the letters made me going back to drawing.
28
FF NUVODuring a stay in Paris, French magazines with their elegant, extrava-gant appearance inspired 6+,S9*+,A bc!F,5 to create a typeface of his own. "" Nuvo has a soft, calligraphic touch with a set of alternates (a, g, k, s, y, and z) that o3er stylistic versatility.
From Fontfont.com
29
RESEARCH TYPESTUDIES
FF METAC*+F 6)+,F,*G%##’s "" Meta is the foundation of the FontFont library, released near the label’s inception and still a signature of the brand. Its ancestor — PT<< ((:><) — was conceived for the West German Post O&ce as a economical typeface for use at small point sizes on cheap paper, but once "" Meta was released to the public it was used for nearly
everything, quickly be-coming one of the most popular typefaces of the computer era. It has been called the “Helvetica of the ’*+s” — not because the two typefaces have anything aesthetically in common — but because "" Meta ful1lls so well the needs of modern communication.
From Fontfont.com
30
VESTAVesta, by ?,*%*A d#S,* (&''(), can be used alongside Gulliver, Capitolium or Coranto. It can act as a display face for use with Gulliver or Coranto but can also be used on its own, even in long texts. Sans serifs are still less welcome than seri3ed types in the columns of newspapers and periodicals, and certainly in books, but Vesta removes many of the objections to sans
serifs. It is narrower and more lively and is more economical than some commonly used sans serifs such as Arial and Helvetica, and there is a noticeable di3er-ence between thick and thin parts. 2is makes Vesta a strong contender for newspapers and magazines — and books.
From gerardunger.com
31
RESEARCH TYPESTUDIES
ARNHEMOurType Arnhem by =*,A 6G,+U,*D, was initially designed for the Nederlandse Staatscou-rant, the daily newspaper of the Dutch state. It can be classi1ed as a very functional design – Arn-hem has been conceived for, and does work best in large quantities of running text. Rooted in traditional typography Arnhem undoubtedly has a modern touch, or ‘an
From OurType.com
edge’, as C*+F 6)+,F,*-G%## has put it a few years ago. An outstand-ing tool for editorial design, Arnhem stands out due to its character, distinct colour and excep-tional reading quality.
32
33
RESEARCH UTOPIA
above
pages from the Pantographia
left-page
Armenian alphabet from
Fry’s Pantographia
pictures from
fromoldbooks.org/
Fry-Pantographia
CAG@#A =*\ wrote his ‘Phantographia’ in (;::. It’s a book on writing systems and alphabets containing all the lan-guages of the world that were known at that time.
Fry provided a descrip-tion of each alphabet on the right-handed, pages with a specimen of the full range of the alphabet on the left. Fry spent sixteen years researching
the book, which contains more than &'' speci-mens, writing systems from Abyssinia to New Zealand, including ,+ vari-eties of Chaldean, -* of the Greek, . Egyptian, // He-brew, 0 Irish, 1 Malayan, 0 Persian, 0 Phoenician, 0 Samaritan, one Tibetan, and , Welsh.
RESEARCH: PANTOGRAPHIA
From Wikipedia
34
35
PROCESS QUIRZA
PROCESS 03/11Trying with a broad-nibbed calligraphic marker gave the option to look for a more cal-ligraphic feel. It was a useful exercise, if it was only to 1nd out that it was not what I wanted.
36
Using type in magazines is one of the most challenging
forms of typography
37
RESEARCH TYPOGRAPHY
Magazine typography is all about communicating, but magazines communicate in many di3erent ways. One of those ways is through the text, the traditional meat of any publication. Other ways include photography, artwork, suggestive and allusive headlines, cartoons, and even the advertising. All of these require integrat-ing words and images in imaginative ways.
A magazine like the New York Review of Books com-municates through columns of type; they’re plain, straightforward, and readable. 2e heart of the maga-zine is its ideas, and those ideas are articulated in the words. 2e New York Review is meant to be read.
A magazine like *surface, on the other hand, is clearly meant to be browsed. It’s 1lled with colorful fashion shots, and what text there is (there’s actually a fair bit) tends to get shunted aside as colorless slabs of small, industrial-looking sans serif type, which get shaped and poked into by graphic elements to suit the look of the page rather than the needs of the reader. It’s of-ten hard to distinguish the editorial pages from the ads; one typographic aid to doing this is the use of a consistent and distinctive display face in much of the magazine.
A subversive hybrid is nest: a quarterly of interiors, which is wildly visual—a browser’s paradise—but fea-tures real articles in diverse styles. Each piece of text is treated di3erently, but within the traditions of book typography: the text blocks, the spacing, the choice of typeface actually invite you to read each article, rather than bounce o3 it. 2e juxtaposition of in-your-face visual presentation and readable text type is one of nest’s charms. (But then, what would you expect from a magazine where the art director is also the editor in chief?)
THE USES OF TYPEType in magazines is basically used on one of three levels: as straight text, whether in small bits nestled among the pictures or in whole pages of prose; as head-lines and other big display words or phrases; and as what I call “small display,” which includes subheads, subtitles, and pull quotes. 2ere’s sometimes a fourth kind of type, which doesn’t 1t into this neat hierarchy and is usually found in separate, discrete elements on the page: “infotext,” like the callouts and labels in info-graphics, or the text in tables or broken-out lists.
What’s hard to 1nd in contemporary magazines, at least in the United States, is clarity and simplicity. In-stead, the trend for many years has been toward clut-ter. But, through juxtaposition and contrast, some publication designers can impose a visual order on the clutter that draws our attention instead of repelling it.
CONTRAST AND CONSISTENCY2e dramatic use of a typeface that has a distinctive character can pull a reader into a story. Strong contrast, sweeping curves, and lively details in the type itself are really brought out when the type is used with con1-dence. 2e display type in Rolling Stone is renowned for achieving this over and over again, which is one rea-son why it keeps ending up in awards shows for design and typography. 2e same can be said of Esquire. Using type dramatically and readably at the same time is the secret; a clear contrast between hot display type and cool text is important.
It’s also important that the text be comfortably read-able. Esquire does better than Rolling Stone at that; both use narrow justi1ed columns of text, but Rolling Stone tends to let the typesetting software squeeze and stretch the space between letters to 1t the line, which Esquire does less often. It’s distracting when the texture of the type varies from line to line, and this makes the text less readable. If you care about people reading your text, it’s a mistake to let graphic elements butt into the text columns, making them temporarily narrow.
THE EVERYDAY CHALLENGEStriking typography isn’t found only in national or in-ternational magazines. 2e New York Times Magazine is routinely given awards for its design these days, and deservedly so. On a more local level, the San Francisco Chronicle’s slim weekly magazine shows how inviting text type and skillful juxtaposition of photography and display type can make even a eu3y gardening piece worth browsing.
Using type in magazines is one of the most challenging forms of typography, because you have to master ev-ery kind of typographic design: from the high-impact commotion of ad design to the smooth eow of running text. But the touchstone is near at hand. Before we are designers, we are all browsers and readers.
2345 6. 7899: (www.johndberry.com) is an editor/typog-rapher who works both sides of the design/content divide. He has been writing about type for the past 'fteen years, and he is the former editor and publisher of U&lc (Upper and lowercase) and U&lc Online.
MAGAZINE TYPOGRAPHY BY JOHN D. BERRY
From itcfonts.com/Ulc/2721/
MagazineTypography.htm
left-page
excerpt from the article
set in Lyon Display Light Italic
by Commercial Type
38
39
PROCESS QUIRZA
40
41
PROCESS QUIRZA
scaled to ± 11ptcontrast too stronground forms need new drawings
PROCESS 02/12After four weeks of sketching it was time to de1ne some param-eters. 2e x-height, ascender-height and width of the stem.I based this on the h, since it gives a lot of information for a lot of characters about the x-height and the ascenders. Also the connector-height could be determined at the h.
42
the question remains: is the utopian dream over?are there, today, still believers in a better world, by means of new forms of art and typography?
43
RESEARCH UTOPIA
I like nice small books that 1t in to my pockets. Especially when they contain such a load of interesting information.Today I received this small book that I ordered at Lauwen Projects.2is book contains a nice selection of lectures and articles by ]+G ^*"@_,5 between (:;a and &''X.]+G ^*"@_,5, the well-known dutch graphic and typeface designer, talks and writes very sharp about the future with a 1rm basis in the past.
You can understand that the chapter ‘the utopian dream is over’ my atten-tion had right away.In this article from (:><, Crouwel writes about the lowercase typogra-phy in the Netherlands by designers like Z+,$ f_%*$, [. T. ],*FG%#, 6!7@+$,G%, g+5U%# %#A 6%#Ah,*S. Situating them in the history of art and design and asking questions about today. Is there still a need for low-ercase and single-alpha-bet typography today? Or is the utopian dream over? Crouwel is afraid so and thinks that Sandberg was one of the last be-lievers in a better world by means of new forms of art and typography.
However he tells us that he used this lowercase typography in the design for the dutch telephone book. But for more tech-nical than ideological rea-sons. For this telephone book he used a slightly condensed Univers. Be-cause the book was with a CRT typeset machine (with a very limited character-set) he had to choose between capitals or punctuation to dis-tinguish surnames from initials. He preferred the punctuation, so no capi-tals in the phonebook.In the redesign of (:>W some things changed—like, for example, new, more open numerals designed by d#S,*—but the lowercase-typography stayed.In (::a there was again a new design. 2is time by L%# g,,D 6!7,5B+D and E%*$+# E%U""*. Majoor designed the typeface for the new design. ‘Tele-font’, a humanist sanser-if. More about this you can read on his website.
BLOG: LOWERCASE TYPOGRAPHYleft-page
poster by Piet Zwart
scan excerpt from telephone-
book by Majoor & Schelvis
above
Sketch for telefont
by Martin Majoor
bottom
Wim Crouwel in his own words
book by Lauwen Projects
GG
44
128pt
45
PROCESS QUIRZA
PROCESS 15/122e amount of characters is growing and after a month working in Font-lab, I’m getting used to the workspace. 2e letters are still quite heavy. And the biggest problem is the a. A trained eye would see it in the larger sizes but especially reduced to a small size, it becomes a dark spot.
46
47
PROCESS QUIRZA
48
letter becomes lighterless contrast for legibilityimprovement in dimensions
x-height 448 units
ascender 662 units
49
PROCESS QUIRZA
±11pt
±24pt
±60pt
50
51
PROCESS QUIRZA
52
53
PROCESS QUIRZA
PROCESS 05/01Remembering the quirky curves from the 1rst sketches I started to redraw the d and the p.
54
FONTLAB FONT WATERFALL1/18/2011 17:13Font: gtype
String: nu een test met al de letters die al bestaan bart de wever joppiesausSizes: 5-36, 38, 40, 42, 48, 56, 64, 72 Page 1/2
55
PROCESS QUIRZA
PROCESS 18/01
56
top to bottom
T]M class ‘08
Arabic Workshop
with Peter Bilak
T]M class ‘08
Stone carving
with Françoise Berserik
photos from
ilovetypography.com
MATD Fiona Ross
presenting non-latin scripts
photo from Ondrej Job
57
INSPIRATION
TypeMedia at kabk matd in Reading
Learning about typogra-phy and typefacedesign got me thinking about enrolling in a master for typefacedesign as there are TypeMedia in the Hague and the Master in Typefacedesign in Read-ing. Applying to study there was the second goal of this year next to designing my typeface.Very soon I noticed that the chances of being accepted are very small, since these courses are very high level. Nonethe-less I tried. Working 1ve months like a maniac to have enough mate-rial to present my skills and interests to them.
On January &>th, there was a portfolio day at TypeMedia in the Hague. I registered and with hope and fear that day came closer. It turned out to be a very nice experience. Meeting the students there and other applicants was very nice. 2e interview and pre-sentation with the teach-ers was very inspiring and encouraging. A few weeks later I also went to the Open Day at Reading University. In one day I learned so much about books and typography. A pleasant experience but also very humbling.
typemediaFinal selection for t]m1112 students
round 75 portfolios remained & out of these we chose 12 people.
Dear Guido Groeneveld,We received lots of portfolio’s this year again. !erefore the selection took a bit longer than expected. Sorry for this delay.We had a close look at your portfolio, but unfortunately we decided not to accept you for the course. It was not an easy decision. Since we have the interest of lots of serious applicants, over one hundred this year where we have only place for twelve, we will focus more and more on those who have already some experience in type and type de-sign. We preferred also students that have practical work experience after graduating from art school. We appreciated the e(ort you put in your portfolio, the trip you made to !e Hague. I hope you’re not too disap-pointed. Try next year again.
TRIP TO READING & THE HAGUE
a tweet by Typemedia on 11/04/11 around 17.00h
5810pt 12pt
11pt 14pt
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humanists an tart are reiteratin herea ainst infare
term mao seven maths a aran o a barse arfish
sos oversum mama a er shivers faits sterna in a
em estruation soar monsi nore on moat user fee
osnabur hens abs teeth fortunateness us satara
for ivin ness monishes stoater hashabi of a ore
seamount eva inatin fab finite botanies so batmen
vertumnus tan is ustier a emote mots annum a uiro
antinomian tie both stet it tv nan aha unroutine arse
of resiftin ratos athenee beer assessor astomatous
rut sombrerite breather rum at stat hen vomituri
tion ass sni erer ununitin e s tabers overri hteous
ness a to stoneite bo bonnive bunt musive rithe
affettuoso hens ear tub bever rite reenfish a o ba s
nonaffirmation tuns hems unhin ement butterier
ston resi nin veenas a hi herniotomist am tv son
a a briefers sor o if nosis bib motmot nasturtiums
amobium suberose ribroaster ran tuft transitus in
aesir me bumf stemmer shunt feminities bo toss
amuse earn rib nonsubversive fibrousness
remain humanists an tart are reiteratin here
a ainst infare term mao seven maths a aran o
a barse arfish sos oversum mama a er shivers
faits sterna in a em estruation soar monsi nore
on moat user fee osnabur hens abs teeth
fortunateness us satara for ivin ness monishes
stoater hashabi of a ore seamount eva inatin
fab finite botanies so batmen vertumnus tan is
ustier a emote mots annum a uiro antinomian
tie both stet it tv nan aha unroutine arse of re
siftin ratos athenee beer assessor astomatous
rut sombrerite breather rum at stat hen vomi
turition ass sni erer ununitin e s tabers over
ri hteousness a to stoneite bo bonnive bunt
musive rithe affettuoso hens ear tub bever
rite reenfish a o ba s nonaffirmation tuns hems
unhin ement butterier ston resi nin veenas a
hi herniotomist am tv son a a briefers sor o
amuse earn rib nonsubversive fibrousness remain humanists an tart are reiteratin herea ainst infare term mao seven maths a aran o a barse arfish sos oversum mama a er shivers faits sterna in a em estruation soar monsi nore on moat user fee osnabur hens abs teeth fortunateness us satara for ivin ness monishes stoater hashabi of a ore seamount eva inatin fab finite botanies so batmen vertumnus tan is ustier a emote mots annum a uiro antinomian tie both stet it tv nan aha unroutine arse of resiftin ratos athenee beer assessor astomatous rut sombrerite breather rum at stat hen vomiturition ass sni erer ununitin e s tabers overri hteousness a to stoneite bo bonnive bunt musive rithe affettuoso hens
amuse earn rib nonsubversive fibrousness remain humanists an tart are reiteratin herea ainst infare term mao seven maths a aran o a barse arfish sos oversum mama a er shivers faits sterna in a em estruation soar monsi nore on moat user fee osnabur hens abs teeth fortunateness us satara for ivin ness monishes stoater hashabi of a ore seamount eva inatin fab finite botanies so batmen vertumnus tan is ustier a emote mots annum a uiro antinomian tie both stet it tv nan aha unroutine arse of resiftin ratos athenee beer assessor astomatous rut sombrerite
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sa
48pt
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adhesiontijdschrift letters testen
PROCESS 01/119+5,-B,*D+"#: 5.2*,B+,_ A%$,: 26/01/11*,B+,_,*: Joke Gossé
!"GG,#$D:
top is too light & too short
nononononononononanoaoanonnenoeoenenetc.
6010pt 12pt
11pt 14pt
amuse earn rib nonsubversive fibrousness remain
humanists an tart are reiterating hereagainst in
fare term mao seven maths a arango a barse gar
fish sos oversum mama gager shivers faits sterna
in a em estruation soar monsignore on moat user
fee osnaburg hens gabs teeth fortunateness us
satara forgivingness monishes stoater hashabi of
a ore seamount evaginating fab finite botanies so
batmen vertumnus tan is gustier a emote mots
annum a guiro antinomian tie both stet it tv nan
aha unroutine arse of resifting ratos athenee beer
assessor astomatous rut sombrerite breather
rum at stat hen vomiturition ass sniggerer ununit
ing eggs tabers overrighteousness a to stoneite
bog bonnive bunt musive rithe affettuoso hens
ear tub bever rite greenfish ago bags nonaffirma
tion tuns hems unhingement butterier stong
resigning veenas a hi herniotomist am tv son a a
briefers sorgo gif gnosis bib motmot nasturtiums
gamobium suberose ribroaster ran tuft transitus
amuse earn rib nonsubversive fibrousness
remain humanists an tart are reiterating
hereagainst infare term mao seven maths a
arango a barse garfish sos oversum mama
gager shivers faits sterna in a em estruation
soar monsignore on moat user fee osnaburg
hens gabs teeth fortunateness us satara
forgivingness monishes stoater hashabi of a
ore seamount evaginating fab finite botanies
so batmen vertumnus tan is gustier a emote
mots annum a guiro antinomian tie both stet
it tv nan aha unroutine arse of resifting ratos
athenee beer assessor astomatous rut som
brerite breather rum at stat hen vomiturition
ass sniggerer ununiting eggs tabers overri
ghteousness a to stoneite bog bonnive bunt
musive rithe affettuoso hens ear tub bever
rite greenfish ago bags nonaffirmation tuns
hems unhingement butterier stong resign
amuse earn rib nonsubversive fibrousness remain humanists an tart are reiterating hereagainst infare term mao seven maths a arango a barse garfish sos oversum mama gager shivers faits sterna in a em estruation soar monsignore on moat user fee osnaburg hens gabs teeth fortunateness us satara forgivingness monishes stoater hashabi of a ore seamount evaginating fab finite botanies so batmen vertumnus tan is gustier a emote mots annum a guiro antinomian tie both stet it tv nan aha unroutine arse of resifting ratos athenee beer assessor astomatous rut sombrerite breather rum at stat hen vomiturition ass sniggerer ununiting eggs tabers overrighteousness
amuse earn rib nonsubversive fibrousness remain humanists an tart are reiterating hereagainst infare term mao seven maths a arango a barse garfish sos oversum mama gager shivers faits sterna in a em estruation soar monsignore on moat user fee osnaburg hens gabs teeth fortunateness us satara forgivingness monishes stoater hashabi of a ore seamount evaginating fab finite botanies so batmen vertumnus tan is gustier a emote mots annum a guiro antinomian tie both stet it tv nan aha unroutine arse of resifting ratos athenee beer
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RESEARCH TYPEDESIGN
CALLIGRAPHY WITH YOMAR
By invitation of ^7*+D$+-#% 6"G"*U%+, I attended a two-day workshop calligraphy by i"G%* j@S@D$"P in Rotterdam. I had seen his work be-fore and had the chance to admire his calligraphy art the week before—Andoverpis exhibition at Catapult;—and got the opportunity to register
We practiced whole day with the brush. It seemed very easy but I
was soon to realize that it ‘s actually quite di`cult. He did a great job show-ing over and over again how it’s done and still leaving us a lot of room to experiment and be
PQyomaraugusto.com
allaboutmyworkshops.com
HQcatapult.be
left-page
large numbers with
triple-stroke brush
exercise with brush
above
movement exercises
67
RESEARCH TYPEDESIGN
I loved the writing with balsa-wood and found out that I prefer to write with metal over brush. I really can recommend his workshops to everyone who wants to learn cal-ligraphy. It’s a lot of fun and a chance to learn a lotin a short period of time.
6810pt 12pt
11pt 14pt
amuse earn rib nonsubversive fibrousness
remain humanists an tart are reiterating here
against infare term mao seven maths a arango a
barse garfish sos oversum mama gager shivers
faits sterna in a em estruation soar monsignore
on moat user fee osnaburg hens gabs teeth
fortunateness us satara forgivingness monishes
stoater hashabi of a ore seamount evaginating
fab finite botanies so batmen vertumnus tan is
gustier a emote mots annum a guiro antinomian
tie both stet it tv nan aha unroutine arse of re
sifting ratos athenee beer assessor astomatous
rut sombrerite breather rum at stat hen vomitu
rition ass sniggerer ununiting eggs tabers over
righteousness a to stoneite bog bonnive bunt
musive rithe affettuoso hens ear tub bever rite
greenfish ago bags nonaffirmation tuns hems
unhingement butterier stong resigning veenas
a hi herniotomist am tv son a a briefers sorgo
gif gnosis bib motmot nasturtiums gamobium
amuse earn rib nonsubversive fibrousness
remain humanists an tart are reiterating
hereagainst infare term mao seven maths a
arango a barse garfish sos oversum mama
gager shivers faits sterna in a em estrua
tion soar monsignore on moat user fee
osnaburg hens gabs teeth fortunateness
us satara forgivingness monishes stoater
hashabi of a ore seamount evaginating fab
finite botanies so batmen vertumnus tan is
gustier a emote mots annum a guiro anti
nomian tie both stet it tv nan aha unroutine
arse of resifting ratos athenee beer asses
sor astomatous rut sombrerite breather
rum at stat hen vomiturition ass sniggerer
ununiting eggs tabers overrighteousness a
to stoneite bog bonnive bunt musive rithe
affettuoso hens ear tub bever rite greenfish
ago bags nonaffirmation tuns hems un
amuse earn rib nonsubversive fibrousness remain humanists an tart are reiterating hereagainst infare term mao seven maths a arango a barse garfish sos oversum mama gager shivers faits sterna in a em estruation soar monsignore on moat user fee osnaburg hens gabs teeth fortunateness us satara forgivingness monishes stoater hashabi of a ore seamount evaginating fab finite botanies so batmen vertumnus tan is gustier a emote mots annum a guiro antinomian tie both stet it tv nan aha unroutine arse of resifting ratos athenee beer assessor astomatous rut sombrerite breather rum at stat hen vomiturition ass sniggerer ununiting
amuse earn rib nonsubversive fibrousness remain humanists an tart are reiterating hereagainst infare term mao seven maths a arango a barse garfish sos oversum mama gager shivers faits sterna in a em estruation soar monsignore on moat user fee osnaburg hens gabs teeth fortunateness us satara forgivingness monishes stoater hashabi of a ore seamount evaginating fab finite botanies so batmen vertumnus tan is gustier a emote mots annum a guiro antinomian tie both stet it tv nan aha unroutine arse of resifting
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caPROCESS 02/119+5,-B,*D+"#: 6.2.2$*,B+,_ A%$,: 23/02/11*,B+,_,*: Joke Gossé
!"GG,#$D:
back to original
calligraphic feel
with n o n o n o
48pt
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hamburgefontsivabcdefghijklmnopqrstuvw
7010pt 12pt
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nisei en sands sained dis none so shadiness sissonnes diseasedness assishness honied sans inone he dish diseasedness none sin diseased oh seediness did den noes shood shah sandhis iiasa nanninose noes noose edison add haddo his asinine is doss indonesians easiness nose son ensindon doodads a ensand deadishness neossin idahoans nod and in sanenesses did in anon head a send hinds oh dashee nondiseased a a inns don add nonsaneness odes doh shoddiness shied so shedhand deadnesses dais shoddiness sheen dosain ends a dissensions as adenose ooh an dindon andesine ashen sassanian nondenseness a doe diasene sandhi seaside seediness ha honied soon ohioan shoeshine ashen and didonia as andes nine seedness sea ohone nose nonsaneness and heediness so is hose oohs donnishness haded nisei a ado ode oohs nonadhesion dianisidine a hand shoddiness ohioans den nondenseness ado din do side hi ado hee dine shisn in anisidino en
nisei en sands sained dis none so shadiness sissonnes diseasedness assishness honied sans inone he dish diseasedness none sin diseased oh seediness did den noes shood shah sandhis iiasa nanninose noes noose edison add haddo his asinine is doss indonesians easiness nose son ensindon doodads a ensand deadishness neossin idahoans nod and in sanenesses did in anon head a send hinds oh dashee nondiseased a a inns don add nonsaneness odes doh shoddiness shied so shedhand deadnesses dais shoddiness sheen dosain ends a dissensions as adenose ooh an dindon andesine ashen sassanian nondenseness a doe diasene sandhi seaside seediness ha honied soon ohioan shoeshine ashen and didonia as andes nine seedness sea ohone nose nonsaneness and heediness so is hose oohs donnishness haded nisei a ado ode oohs
nisei en sands sained dis none so shadiness sissonnes diseasedness assishness honied sans inone he dish diseasedness none sin diseased oh seediness did den noes shood shah sandhis iiasa nanninose noes noose edison add haddo his asinine is doss indonesians easiness nose son ensindon doodads a ensand deadishness neossin idahoans nod and in sanenesses did in anon head a send hinds oh dashee nondiseased a a inns don add nonsaneness odes doh shoddiness shied so shedhand deadnesses dais shoddiness sheen dosain ends a dissensions as adenose ooh an dindon andesine ashen sassanian nondenseness a doe diasene sandhi seaside seediness ha honied soon
nisei en sands sained dis none so shadiness sissonnes diseasedness assishness honied sans inone he dish diseasedness none sin diseased oh seediness did den noes shood shah sandhis iiasa nanninose noes noose edison add haddo his asinine is doss indonesians easiness nose son ensindon doodads a ensand deadishness neossin idahoans nod and in sanenesses did in anon head a send hinds oh dashee nondiseased a a inns don add nonsaneness odes doh shoddiness shied so shedhand deadnesses dais shoddiness sheen dosain ends
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ahPROCESS 02/119+5,-B,*D+"#: 6.2.2.3h*,B+,_ A%$,: 28/02/11*,B+,_,*: Joke Gossé
!"GG,#$D:
on the stems
for adhesion
48pt
300pt
adhesion
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RESEARCH TYPEDESIGN
DICK DOOIJES
M+!F M""+U,D was a pupil and assistant of 6U",*A A, b""DP, and succeeded him as artistic adviser of the famous Lettergieterij Amsterdam/Tetterode. He helped De Roos with the drawings of Nobel and Egmont, and 6$,9%# 6!75,D+#S,*H with Rondo and Rondo Bold.
After the Second World War, Dooijes started designing his own roman typefaces. He 1nished the roman for Bronlet-ter in (:a:, but he was stopped from designing the complete fam-ily when the foundry’s
management decided to go ahead with the Ameri-can Columbia instead. Dooijes remained bitter about this decision all his life. Columbia was a commercial 1asco.
While Dooijes excelled in book design, he saw himself primarily as a type designer.
Dooijes’s 1rst complete type family was Mercator in (:<:, a replacement for Nobel, and clearly a contemporary of Hel-vetica and Univers—but overshadowed by their success. Contura ((:X<)
was an outline face based on Bronletter, while his best type, Lectura ((:X:), was a serif to replace the failed Columbia. It was to be Dooijes’s last type—he was asked to become director of the Gerrit Rietveld Academy, the main Dutch art school—but also the last design to come out of the old Let-tergieterij Amsterdam.
P en.wikipedia.org/wiki/ S.H._de_Roos
H myfonts.com/person/Stefan_Schlesinger/
From MyFonts.com
left-page
Sketch from 1962 by Dick
Dooijes for his Lectura (1969)
from UvA Bijzondere Collecties
right-page
specimen for Dooijes’ Mercator
by Lettergieterij Amsterdam
portrait Dooijes
74
left & right
comments and drawings
by Joke Gossé
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amuse earn rib nonsubversive fibrousness remain humanists an tart are reiterating hereagainst infare term mao seven maths a arango a barse garfish sos oversum mama gager shivers faits sterna in a em estruation soar monsignore on moat user fee osnaburg hens gabs teeth fortunateness us satara forgivingness monishes stoater hashabi of a ore seamount evaginating fab finite botanies so batmen vertumnus tan is gustier a emote mots annum a guiro antinomian tie both stet it tv nan aha unroutine arse of resifting ratos athenee beer assessor astomatous rut sombrerite breather rum at stat hen vomiturition ass sniggerer ununiting eggs tabers overrighteousness a to stoneite bog bonnive bunt musive rithe affettuoso hens ear tub bever rite greenfish ago bags nonaffirmation tuns hems unhingement butterier stong resigning veenas a hi herniotomist am tv son a a briefers sorgo gif gnosis bib motmot nasturtiums gamobium
amuse earn rib nonsubversive fibrousness remain humanists an tart are reiterating hereagainst infare term mao seven maths a arango a barse garfish sos oversum mama gager shivers faits sterna in a em estruation soar monsignore on moat user fee osnaburg hens gabs teeth fortunateness us satara forgivingness monishes stoater hashabi of a ore seamount evaginating fab finite botanies so batmen vertumnus tan is gustier a emote mots annum a guiro antinomian tie both stet it tv nan aha unroutine arse of resifting ratos athenee beer assessor astomatous rut sombrerite breather rum at stat hen vomiturition ass sniggerer ununiting eggs tabers overrighteousness a to stoneite bog bonnive bunt musive rithe affettuoso hens ear tub bever rite greenfish ago bags nonaffirmation tuns hems unhingement butterier
amuse earn rib nonsubversive fibrousness remain humanists an tart are reiterating hereagainst infare term mao seven maths a arango a barse garfish sos oversum mama gager shivers faits sterna in a em estruation soar monsignore on moat user fee osnaburg hens gabs teeth fortunateness us satara forgivingness monishes stoater hashabi of a ore seamount evaginating fab finite botanies so batmen vertumnus tan is gustier a emote mots annum a guiro antinomian tie both stet it tv nan aha unroutine arse of resifting ratos athenee beer assessor astomatous rut sombrerite breather rum at stat hen vomiturition ass sniggerer ununiting eggs tabers overrighteousness
amuse earn rib nonsubversive fibrousness remain humanists an tart are reiterating hereagainst infare term mao seven maths a arango a barse garfish sos oversum mama gager shivers faits sterna in a em estruation soar monsignore on moat user fee osnaburg hens gabs teeth fortunateness us satara forgivingness monishes stoater hashabi of a ore seamount evaginating fab finite botanies so batmen vertumnus tan is gustier a emote mots annum a guiro antinomian tie both stet it tv nan aha unroutine arse of resifting ratos athenee beer
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!"GG,#$D:
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hamburgefontsiv abcdefghijklmnopqrstuvwxyz
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RESEARCH TYPEDESIGN
WILLIAM ADDISON DWIGGINS
Born in Ohio in (>>', ]+55+%G jAA+D"# M_+SS+#D studied art in Chicago, and by (:'a had settled, for life as it turned out, in Hingham, Massachusetts, to pur-sue his career. In his early years, Dwiggins did most of his work in advertising. And in (:&>, he wrote Layout in Advertising. It was considered the standard text on the subject, so much so that the book was reissued twenty years later.
His heart was in the making of books, however, and this led him to strive to improve the generally poor quality of trade books in America. Believing that the advent of the machine was in no way incompatible with artistic excellence, Dwiggins set about devising methods to use the new technology to artistic advan-tage. He devised a system of ornamentation by which small or large designs could be constructed from the series of small decorative units he cut as stencils. But he wanted most to be remembered for type design, and he was a prodigious producer in that area. He designed 1ve marketed typefaces: Metroblack/Metrolite, Electra, Caledonia, Eldorado and Falcon. Of ten other incom-plete faces, 1ve were used experimentally in books in the (&-point pilot size.
Dwiggins received honorary membership in Bos-ton’s Society of Printers and the Double Crown Club in London, the AIGA medal, an honorary degree from Har-vard University and appointment as a Fellow of the American Academy of Arts and Sciences.
N+55 M_+SS+#D relieved the pressure of work by building a miniature theater, complete in every de-tail, featuring a cast of magni1cent twelve-inch mari-onettes that he carved of wood with the consummate skill with which he approached all artistic endeavors. 2e marionette theater, together with his typographi-cal work and other forms of his art, now resides in the Boston Public Library, where three rooms are devoted to the Dwiggins Collection.
In the last two years of his life, Dwiggins’s failing health made it impossible to work any longer, but his good humor never deserted him. He said, “It was a grand adventure; I am content.”
]+55+%G jAA+D"# M_+SS+#D died at his home on Christmas Day, (:<X.
G"*, "# A_+SS+#D
Dissertation by Ti3any Wardle typeculture.com/academic_resource/articles_essays/pdfs/tc_article_-1.pdf
Article by Stephen Heller hellerbooks.com/pdfs/step_dwiggins.pdf
From adcglobal.org
left-page
Page from WAD to RR
‘a letter about designing type’
Harvard College Library
right-page
another excerpt
from this letter
Dwiggins with a puppet of
himself, by Randall W. Abbott
8210pt 12pt
11pt 14pt
am pike tv on screw faeryland phascaceous
heptarch nympholepsies enfume wolfachite zone
a olds ha refs dye voyeuristically tarse ash gamin
wries hulch we en tod bespeak caickle dot a ha
zelly lull vent legs whorlywort perivertebral orb
lid vareheaded grew jars shy repursuit sulk mike
rioted spane worsted gad gaspergous capeador
ditrigonal oppignerate ax fado bolar uvate flue
ye nub he autotrophic pat tarvia avengers my
an salute denes phosphatide gut a turf learning
outshame a binode spitters tzetze dowsets un
naturalising luluai a karacul had tetanuses a silds
burl maoist acetylate had bob due bidders or
duct loutishly crepe nucleolus ceratitic loupe sag
mock wows do sawlike tape mend tv a snaily fan
cy run kayo grint mentimeter hagdin methylate
nilgaus glow feudists pro ok stold bug candystick
lithotomies us as tarpaulinmaker prune proud
hearted kinkle tots ya leaf kebby brazas gipsylike
exormia dares ill slag leprosy rut scrag grosbeak
am pike tv on screw faeryland phascaceous
heptarch nympholepsies enfume wolfachite
zone a olds ha refs dye voyeuristically tarse
ash gamin wries hulch we en tod bespeak
caickle dot a hazelly lull vent legs whorly
wort perivertebral orb lid vareheaded grew
jars shy repursuit sulk mike rioted spane
worsted gad gaspergous capeador ditrigonal
oppignerate ax fado bolar uvate flue ye nub
he autotrophic pat tarvia avengers my an
salute denes phosphatide gut a turf learning
outshame a binode spitters tzetze dowsets
unnaturalising luluai a karacul had tetanuses
a silds burl maoist acetylate had bob due bid
ders or duct loutishly crepe nucleolus cera
titic loupe sag mock wows do sawlike tape
mend tv a snaily fancy run kayo grint menti
meter hagdin methylate nilgaus glow feud
ists pro ok stold bug candystick lithotomies
am pike tv on screw faeryland phascaceous heptarch nympholepsies enfume wolfachite zone a olds ha refs dye voyeuristically tarse ash gamin wries hulch we en tod bespeak caickle dot a hazelly lull vent legs whorlywort perivertebral orb lid vareheaded grew jars shy repursuit sulk mike rioted spane worsted gad gaspergous capeador ditrigonal oppignerate ax fado bolar uvate flue ye nub he autotrophic pat tarvia avengers my an salute denes phosphatide gut a turf learning outshame a binode spitters tzetze dowsets unnaturalising luluai a karacul had tetanuses a silds burl maoist acetylate had bob due bidders or duct loutishly crepe nucleolus ceratitic loupe
am pike tv on screw faeryland phascaceous heptarch nympholepsies enfume wolfachite zone a olds ha refs dye voyeuristically tarse ash gamin wries hulch we en tod bespeak caickle dot a hazelly lull vent legs whorlywort perivertebral orb lid vareheaded grew jars shy repursuit sulk mike rioted spane worsted gad gaspergous capeador ditrigonal oppignerate ax fado bolar uvate flue ye nub he autotrophic pat tarvia avengers my an salute denes phosphatide gut a turf learning outshame a binode spitters tzetze dowsets unnaturalising
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sxPROCESS 04/119+5,-B,*D+"#: 6.4.4*,B+,_ A%$,: 06/04/11*,B+,_,*: Joke Gossé
!"GG,#$D:
the loop too thin
48pt
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abcdefghijklmn opqrstuvwxyz
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P
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ABCDEFGHILMNOPQRTV
8610pt 12pt
11pt 14pt
Am pike tv on screw faeryland phascaceous
heptarch nympholepsies enfume wolfachite zone
a olds ha refs dye voyeuristically tarse ash gamin
wries hulch we en tod bespeak. Caickle dot a ha
zelly lull vent legs whorlywort perivertebral orb.
Lid vareheaded grew jars shy repursuit sulk mike
rioted spane worsted gad gaspergous capeador
ditrigonal oppignerate ax fado bolar uvate flue
ye nub he autotrophic pat tarvia avengers my
an salute denes phosphatide gut a turf learning
outshame a binode spitters tzetze dowsets un
naturalising luluai a karacul had tetanuses a silds
burl maoist acetylate had bob due bidders or
duct loutishly crepe nucleolus ceratitic loupe sag
mock wows do sawlike tape mend tv a snaily fan
cy run kayo grint mentimeter hagdin methylate
nilgaus glow feudists pro ok stold bug candystick
lithotomies us as tarpaulinmaker prune proud
hearted kinkle tots ya leaf kebby brazas gipsylike
exormia dares ill slag leprosy rut scrag grosbeak
Am pike tv on screw faeryland phascaceous
heptarch nympholepsies enfume wolfachite
zone a olds ha refs dye voyeuristically tarse
ash gamin wries hulch we en tod bespeak.
Caickle dot a hazelly lull vent legs whorly
wort perivertebral orb. Lid vareheaded grew
jars shy repursuit sulk mike rioted spane
worsted gad gaspergous capeador ditrigonal
oppignerate ax fado bolar uvate flue ye nub
he autotrophic pat tarvia avengers my an
salute denes phosphatide gut a turf learning
outshame a binode spitters tzetze dowsets
unnaturalising luluai a karacul had tetanuses
a silds burl maoist acetylate had bob due bid
ders or duct loutishly crepe nucleolus cera
titic loupe sag mock wows do sawlike tape
mend tv a snaily fancy run kayo grint menti
meter hagdin methylate nilgaus glow feud
ists pro ok stold bug candystick lithotomies
Am pike tv on screw faeryland phascaceous heptarch nympholepsies enfume wolfachite zone a olds ha refs dye voyeuristically tarse ash gamin wries hulch we en tod bespeak. Caickle dot a hazelly lull vent legs whorlywort perivertebral orb. Lid vareheaded grew jars shy repursuit sulk mike rioted spane worsted gad gaspergous capeador ditrigonal oppignerate ax fado bolar uvate flue ye nub he autotrophic pat tarvia avengers my an salute denes phosphatide gut a turf learning outshame a binode spitters tzetze dowsets unnaturalising luluai a karacul had tetanuses a silds burl maoist acetylate had bob due bidders or duct loutishly crepe nucleolus ceratitic loupe
Am pike tv on screw faeryland phascaceous heptarch nympholepsies enfume wolfachite zone a olds ha refs dye voyeuristically tarse ash gamin wries hulch we en tod bespeak. Caickle dot a hazelly lull vent legs whorlywort perivertebral orb. Lid vareheaded grew jars shy repursuit sulk mike rioted spane worsted gad gaspergous capeador ditrigonal oppignerate ax fado bolar uvate flue ye nub he autotrophic pat tarvia avengers my an salute denes phosphatide gut a turf learning outshame a binode spitters tzetze dowsets unnaturalising
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NPROCESS 04/119+5,-B,*D+"#: 6.4.5*,B+,_ A%$,: 07/04/11*,B+,_,*: Joke Gossé
!"GG,#$D: lowercase
-lines and resizing the eye
uppercase
stroke joints
48pt
300pt
abcdefghijklmnopqrstuvwxyzACEFGHILMNOTV.
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RESEARCH TYPEDESIGN
BRAM DE DOES
N*%G A, M",D (Amsterdam, (:Wa) is a graphic and type designer. De Does studied at the Amsterdamse Gra'sche School in the (:<'s. De Does came into contact with the printing trade at an early age, as his father had a print-ing o`ce in the east of Amsterdam. From (:<> to (:>> he worked, with several intervals, at Joh. Enschedé, a printing o`ce in Haarlem. He worked there primarily as a book designer. De Does was asked by his employer to design a typeface, which was to become Trinité.
After L%# B%# g*+G),#P died—De Does’ prede-cessor at Enschedé—the production of quality books stopped being a top priority at Enschedé, and De Does decided to leave, to work for the Querido publishing house. He was asked to come back to Enschedé a year later, which he did. He designed annual reports, com-memorative volumes and type specimens. He also de-signed and printed his own books at his private press, Spectatorpers. Around (:;', Enschedé developed a re-newed interest in publishing, and N*%G A, M",D could design several beautiful books. One of the most per-fected is the book Typefoundries in the Netherlands. It was published in (:;>, and is a prime example of 1ne Dutch printing and publishing. Incidentally, it was also the last book Enschedé published that was printed en-tirely by letterpress. De Does is known for his atten-tion for detail and perfectionism; for the Typefound-ries in the Netherlands, he personally supervised the production of the paper (produced with his own recipe)
and he insisted that the book should be printed by one person in a specially equipped room.
N*%G A, M",D’ 1rst typeface was the serif typeface Trinité;, released in (:>&. In (:;> Enschedé replaced their phototypesetting machines, for which they want-ed to adapt L%# B%# g*+G),#’s typeface Romanée. 2e company consulted with De Does, who was against it, fearing the typeface would lose its character in the translation from metal movable type to phototype. He considered commissioning a new typeface, speci1cally designed for the new technology, a much better idea. Although it was not his intention, Enschedé invited him to design this new typeface. Trinité was developed from (:;: to (:>&. It is currently available as a Post-Script Type ( font from 2e Enschedé Font Foundry RC==. In (::( De Does won the H.N. Werkmanprize for the design.
Ten years after Trinité, De Does designed his sec-ond serif typeface, Lexicon<, for the Van Dale dictionary. 2is typeface was designed for use at small pointsizes.
P linotype.com/=1+/janvankrimpen.html
H te(.nl/fonts/trinite
I te(.nl/fonts/lexicon
^"55,!$+"# N*%G A, M",D %$ @B%.#5dpc.uba.uva.nl/inventarissen/ubainv>0
From Wikipedia
left-page
Drawing by Bram de Does
for his Lexicon.
Blank ink on paper.
From a serie of 38 drawings.
right-page
his initials in Lexicon 1 italic A
portrait de Does
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PROCESS QUIRZA
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PROCESS CALLIE
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a t
ilt
aca
cia
ta
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t ta
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al c
at
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PROCESS QUIRZA
thin
light
regular
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PROCESS QUIRZA
“What’s happened to me?” he thought.
It wasn’t a dream. His room—a prop-
er human room, al-though a little too small—lay peace-fully between its
four familiar walls.
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Sant Quirze del Vallès és un mu-nicipi de la co-marca del Vallès Occidental. Limi-ta amb els muni-cipis de Sabadell, Rubí, Terrassa, Sant Cugat del Va-llès i Cerdanyola.
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San Quirico de Tarrasa, en catalán y oficialmente Sant Quirze del Vallès, es un municipio español en la provin-cia de Barcelona. Se encuentra en el centro del Vallés Occidental y tiene la proximidad de ciudades impor-tantes tales como; Sabadell, Rub, Tarrasa, San Cugat del Vallés o Barcelona.A comienzos del siglo XX, su población compaginaba el trabajo en las fábricas de las ciudades vecinas con el cultivo de la tierra. La proximidad de la ciudad de Sabadell, la construcción de la estación del ferrocarril y el asentamiento progresivo de diferente industrias en los alrededores del municipio, provocaron un cambio en la actividad agrícola. Desde finales de los setenta, San Quirico experimentará una notable expansión e incremento de la población con la construcción de ur-banizaciones tales como Vallès Parc, Sant Quirze Jardí o Mas Duran, y con la llegada de familias jóvenes proce-dentes en su mayoría de Barcelona. Actualmente, San Quirico es un municipio de servicios y fundamental-mente residencial.
San Quirico de Tarrasa, en catalán y oficial-mente Sant Quirze del Vallès, es un muni-cipio español en la provincia de Barcelona. Se encuentra en el centro del Vallés Occi-dental y tiene la proximidad de ciudades importantes tales como; Sabadell, Rub, Tarrasa, San Cugat del Vallés o Barcelona.A comienzos del siglo XX, su población compaginaba el trabajo en las fábricas de las ciudades vecinas con el cultivo de la tierra. La proximidad de la ciudad de Sab-adell, la construcción de la estación del ferrocarril y el asentamiento progresivo de diferente industrias en los alrededores del municipio, provocaron un cambio en la actividad agrícola. Desde finales de los setenta, San Quirico experimentará una
San Quirico de Tarrasa, en catalán y oficialmente Sant Quirze del Vallès, es un municipio español en la provincia de Barcelona. Se encuentra en el cen-tro del Vallés Occidental y tiene la proximidad de ciudades importantes tales como; Sabadell, Rub, Tarrasa, San Cugat del Vallés o Barcelona.A comienzos del siglo XX, su población compag-inaba el trabajo en las fábricas de las ciudades vecinas con el cultivo de la tierra. La proximidad de la ciudad de Sabadell, la construcción de la es-tación del ferrocarril y el asentamiento progresi-vo de diferente industrias en los alrededores del municipio, provocaron un cambio en la actividad agrícola. Desde finales de los setenta, San Quirico experimentará una notable expansión e incremen-to de la población con la construcción de urban-izaciones tales como Vallès Parc, Sant Quirze Jardí o Mas Duran, y con la llegada de familias jóvenes procedentes en su mayoría de Barcelona. Actual-
San Quirico de Tarrasa, en catalán y oficialmente Sant Quirze del Vallès, es un municipio español en la pro-vincia de Barcelona. Se encuentra en el centro del Vallés Occidental y tiene la proximidad de ciudades im-portantes tales como; Sabadell, Rub, Tarrasa, San Cugat del Vallés o Bar-celona.A comienzos del siglo XX, su po-blación compaginaba el trabajo en las fábricas de las ciudades vecinas con el cultivo de la tierra. La proximi-dad de la ciudad de Sabadell, la con-strucción de la estación del ferro-
San Quirico de Tarrasa, en catalán y oficial-mente Sant Quirze del Vallès, es un municipio español en la provincia de Barcelona. Se en-cuentra en el centro del Vallés Occidental y tiene la proximidad de ciudades importantes tales como; Sabadell, Rub, Tarrasa, San Cugat del Vallés o Barcelona.A comienzos del siglo XX, su población com-paginaba el trabajo en las fábricas de las ci-udades vecinas con el cultivo de la tierra. La proximidad de la ciudad de Sabadell, la con-strucción de la estación del ferrocarril y el asentamiento progresivo de diferente indus-trias en los alrededores del municipio, pro-vocaron un cambio en la actividad agrícola. Desde finales de los setenta, San Quirico ex-perimentará una notable expansión e incre-mento de la población con la construcción de
San Quirico de Tarrasa, en cata-lán y oficialmente Sant Quirze del Vallès, es un municipio es-pañol en la provincia de Barce-lona. Se encuentra en el centro del Vallés Occidental y tiene la proximidad de ciudades impor-tantes tales como; Sabadell, Rub, Tarrasa, San Cugat del Val-lés o Barcelona.A comienzos del siglo XX, su población compaginaba el tra-bajo en las fábricas de las ciu-
:pt (&pt
('pt (apt
((pt (Xpt
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Aa Bb Cc Dd Ee FfGg Hh Ii Jj Kk Ll MmNn Oo Pp Qq Rr SsTt Uu Vv Ww Xx Yy Zz
107
PROCESS QUIRZA
ABCDEFGHIJKLMNOPQR
STUVWXYZabcdefghijklmnopqrstu
vwxyz
123?!“”.,:;
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Sant Quirze del Vallès is a town in the comarca of the Vallès Occidental, province of Barcelona,
SPAIN
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PROCESS QUIRZA
a humanist type-face with multiple character-widths, letterspaces, numer-als, “punctuation” and—above all—no manual hinting was involved!
QUIRZA
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A UTOPIAN TYPOGRAPHIC TIMELINE
111
A UTOPIAN TYPOGRAPHIC TIMELINE
RESEARCH UTOPIAN TYPEHISTORY
As part of a research-assignment, I designed a timeline about events, inventions and people in typehistory. 2is overview does not pretend to be complete. To be complete, it would be a book by itself. I selected the di3erent parts for their impor-tance to my research, and the inspiration gave.
For Dick Dooijes, W.A. Dwiggins and Bram de Does,
see pages 73, 81 and 91
For a complete timeline
letterfontein.nl/extras/Tijdlijn_2011.pdf
112
L"7%##,D ?,#D95,+D!7 V@* J%A,# V@G ?@$,#h,*S (c. (W:> – February W, (aX>) was a German blacksmith, goldsmith, printer, and publisher who introduced modern book printing. His invention of mechanical movable type printing started the Printing Revolu-tion and is widely regarded as the most important event of the modern period. It played a key role in the development of the Renaissance, Reforma-tion and the Scienti1c Revolution and laid the material basis for the modern knowledge-based economy and the spread of learning to the masses.
Gutenberg was the 1rst European to use movable type printing, in around (aW:, and the global inventor of the printing press. Among his many contributions to printing are: the invention of a process for mass-producing movable type; the use of oil-based ink; and the use of a wooden printing press similar to the agricul-tural screw presses of the period. His truly epochal invention was the combi-nation of these elements
into a practical system which allowed the mass production of printed books and was economi-cally viable for print-ers and readers alike. Gutenberg’s method for making type is tradi-tionally considered to have included a type metal alloy and a hand mould for casting type.
2e use of movable type was a marked improvement on the handwritten manuscript, which was the existing method of book pro-duction in Europe, and upon woodblock print-ing, and revolutionized European book-making. Gutenberg’s printing technology spread rap-idly throughout Europe and later the world.
His major work, the Gutenberg Bible (also known as the a&-line Bi-ble), has been acclaimed for its high aesthetic and technical quality.
1450 GUTENBERG & MOVABLE TYPE
!"#$%& '#(#)*+% (ca. 0.k/ – 0lm0) was a Parisian publisher. He was one of the leading type designers of his time, and is credited with the introduction of the apostrophe, the accent and the cedilla to the French language. Several contemporary typefaces, including those currently known as Garamond, Granjon, and Sabon, reeect his ineuence. Ga-ramond was an appren-tice of Simon de Colines; later, he was an assistant to Geo3roy Tory, whose interests in human-ist typography and the ancient Greek capital letterforms, or majus-cules, may have informed Garamond’s later work.
,-,./(0mkn – 0kom) is the name of a family of French printers, punch-cutters and publishers. 2rough its achievements and advancements in printing, publishing and typography, the family has lent its name to ty-pographic measurements developed by François-Ambroise Didot and the Didot typeface devel-oped by Firmin Didot.
01&((& 21)*+ 3*$(+1&( (0p0- – 0pmk) was a French mid-0kth century punch-cutter, typefounder and typo-graphic theoretician. He was both a collector and originator of types. Fournier’s contributions to printing were his creation of initials and ornaments, his design of letters, and his standard-ization of type sizes. He worked in the rococo form, and designed typefaces including Fournier and Narcissus. 2e measurement of type by the point system is Fournier’s signi1cant and enduring contribu-tion to typography.
3(#+4&54* '(166* (0.l/–0l0k) was a 1f-teenth-century Venetian punchcutter. He worked for Aldus Manutius, de-signing the more impor-tant typefaces, including the 1rst italic type. His romans show a degree of abstraction from cal-ligraphy not present in the work of the earlier master T+!"5%D L,#D"#, while his italic and Greek types are notably cursive.
1450 1500 … 1650 1700
71""1#) !#5"*+ ((X:& – (;XX) was an English gunsmith and designer of typefaces. He was born at Cradley, Worcestershire, and in (;(X started business in London as an engraver of gun locks and barrels,
and as a bookbinder's tool cutter. Having con-tact with printers, he was induced to 1t up a type foundry. 2e distinction and legibility of his type secured him the patron-age of the leading print-ers of the day in England and on the continent.
Caslon's typefaces were inspired by the Dutch Baroque types, the most commonly used types in England before Caslon's faces. His work ineuenced John Baskerville and are thus the progenitors of the typeface classi1cations Transitional (which includes Baskerville, Bulmer, and Fair1eld), and Modern (which includes Bell, Bodoni, Didot, and Walbaum).
left to right
Johannes Gutenberg, portrait
Wikimedia
Representation of a cast-iron
press from the early 1800s
typographia.oszk.hu
‘Be’ set in MT Bembo italic
Manuel Typographique
by P. S. Fournier
kidwelldesign.blogspot.com
“Clarendon” Besley was strongly assisted by8&+9#)1+ 3*: who had a great reputation as a skilful punchcutter. 2is design was a slightly con-densed display typeface .
from an essay
by Mitja Miklavcic
typefacedesign.org
113
RESEARCH UTOPIAN TYPEHISTORY
Walbaum was designed in the early 0k//’s by ;$5-<$5 =(14> 7#"?#$). Originally punchcut in Weimar, the designer was inspired by other Modern Didone typefaces that had been created, such as Bodoni and Didot. Its extreme vertical stress, and 1ne hairlines contrasted with bold main strokes are typical of Modern fonts, yet Walbaum has many unique character quirks that make it open, warm, and very graceful.
from Typedia.com
In October of 0k.l the name “Clarendon” was registered. O`cially the author of this design was @*?&(< 8&5"&A who became a partner at the Fann Street Foundry in 0kok. During this period ]+55+%G R7"*"_S""A also worked at the same foundry. In the design of
1750 … 1800 1850 …
Bodoni is a series of serif typefaces 1rst designed by ?+%Gh%$$+D$% N"A"#+ ((;a'–(>(W) in (;>:. 2e typeface is classi1ed as Didone modern. Bodoni followed the ideas of L"7# N%DF,*B+55,, as found in the printing type Baskerville, that of increased stroke contrast and a more vertical, slightly con-densed, upper case, but taking them to a more extreme conclusion. Bodoni had a long career and his designs evolved and di3ered, ending with a typeface of narrower underlying structure with eat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construc-tion. 2ough these later designs are rightfully called “modern”, the earlier designs are “transitional”. Among digital versions, there are two good examples of the earlier, transitional period: 6@G#,* 6$"#,’s ITC Bodoni, and ?c#$7,* J%#S,’s “Bodoni Old Face” for Berthold. Virtually all other versions are based on Bodoni’s most extreme late manner.
Bodoni admired the work of L"7# N%DF,*B+55, and studied in detail the designs of French type founders Z+,**, 6+G"# ="@*#+,* and =+*G+# M+A"$. Although
Baskerville is a tran-sitional serif typeface designed in (;<; by ;*>+ 8#5B&(C1""& ((;'X–(;;<) in Birming-ham, England. Basker-ville is classi1ed as a transitional typeface, positioned between the old style typefaces of ]+55+%G ^%D5"#, and the modern styles of ?+%Gh%$$+D$% N"A"#+ and FirG+# M+A"$.
2e Baskerville type-face is the result of L"7# N%DF,*B+55,’s intent to improve upon the types of ]+55+%G ^%D5"#. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. 2e curved strokes are more circular in shape, and the characters became more regular. 2ese changes created a greater consistency
he drew inspiration from the work of these design-ers, above all from Didot, no doubt Bodoni found his own style for his typefaces, which deserv-edly gained worldwide ac-ceptance among printers.
Some digital versions of Bodoni are said to su3er from a particular kind of legibility degrada-tion known as “dazzle” caused by the alternating thick and thin strokes, particularly from the thin strokes being very thin at small point sizes. 2is only occurs when display versions are used at text sizes, and it is also true of much display type that is used at text sizes.
1789 BODONI BY GIAMBATTISTA
in size and form.N%DF,*B+55,’s type-
face was the culmina-tion of a larger series of experiments to improve legibility which also in-cluded paper making and ink manufacturing. 2e result was a typeface that reeected N%DF,*B+55,’s ideals of perfection, where he chose simplicity and quiet re1nement.
left to right
Giambattista Bodoni, ‘Manu-
ale tipografico’, Parma, 1818.
Photo Bettina Neumann
University Amsterdam
First page from the
Baskerville Bible, 1763
WikiMedia
Walbaum specimen
Photo Ralph Hermann
Clarendon specimen
From Al Gowan’s copy of
“The Wood Type Collection of
T.J. Lyons” MassArt, Boston
Photo Nick Sherman
unless specified otherwise
all texts from Wikipedia
114
… 1900 … 1950 1970
1887 THE LINOTYPE2e Linotype typesetting machine is a “line casting” machine used in printing. 2e name of the machine comes from the fact that it produces an entire line of metal type at once, hence a line-o’-type, a signi1cant improvement over manual typesetting. 2e machine operator enters text on a :'-character keyboard. 2e machine assembles matrices, which are molds for the letter forms, in a line. 2e assembled line is then cast as a single piece, a slug, of type metal in a process
known as “hot metal” typesetting. 2e matrices are then returned to the type magazine from which they came. 2is allows much faster
typesetting and composition than original hand composition in which operators
place down one pre-cast metal letter, punctuation mark or space at a time. 2e machine revolutionized typeset-ting and with it newspaper publishing, making it possible for a relatively small number of operators to set type for many pages on a daily basis.
Learn more
CODEX Issue 1, Spring 2011
linotypefilm.com
DEF-,=GF '@./=2E was released by Berthold in Berlin in 0knk. It was based on faces already o3ered by other found-ries, some of which were later taken over by Ber-thold. In 0n/k Berthold acquired a typeface which they released as Akzidenz Grotesk Halbfett. 2ey added weights acquired from other foundries. Every foundry had a ver-sion of that type of face, often only available in a few sizes. 2e original series remained quite divers, individual weights showing not much re-semblance. It was mainly a marketing and naming success. 2at changed when they cut Series lp and Series lk. 2ese had some sizes recut under the art-direction of ?c#$,* ?,*7%*A J%#S,.
H*((15 3$""&( 8&+<*+ (0kp- – 0n.k) was an ineuential American typeface designer who headed the design department of the American Type Founders (ATF), for which he was the chief type designer from 0n// to 0nop. Benton was America’s most proli1c type designer, having completed --0 typefaces, ranging from revivals of historical models like ATF Bodoni, to adding new weights to existing faces such as Goudy Old Style and Cheltenham, and to designing original designs such as Hobo, Bank Gothic, and Broadway. Benton’s large family of related neo-grotesque sans-serif typefaces, known as “gothics” as was the norm at the time, includes Alternate Gothic, Franklin Gothic, and News Gothic. 2ese typefaces better anticipated and were more similar to later realist sans-serif typefaces such as Helvetica than the other early grotesque types of his contemporaries.
3(&%&(14 7. '*$%A (0kml - 0n.p) was a proli1c American type designer whose typefaces include Copperplate Gothic, Kennerley, and Goudy Old Style. He also designed, in 0nok, University of California Oldstyle, for the sole proprietary use of the University of California Press. 2e Lanston Mono-type Company released a version of this typeface as “Californian” for wider distribution in 0nlm, while ITC created a digital version, called ITC Berkeley, in 0nko.Goudy was the originator of the statement:
“Any man who would letterspace blackletter would shag sheep.”
=(14 '1""An English sculptor, sign painter, type designer, wannabe social reformer, devout Catholic with un-usual sexual behaviour. His best known type designs were produced by the Monotype corpora-tion, although he also designed type for private presses. His most widely used type Gill Sans, ineuenced by the London Transport lettering of his teacher CA_%*A L"7#-D$"#, was the 1rst suc-cessful sans type based on the humanist models of the Renaissance. Other of his designs are the intricate Per-petua and Joanna, named after his daughter.
from MyFonts.com
0#$" @&++&( ((>;> – (:<X), born in Prus-sia, was brought up to have a very German sense of leadership, of duty and responsibil-ity. Renner can be seen as a bridge between the traditional ((:th century) and the modern (&'th century). He attempted to fuse the Gothic and the roman typefaces.
Two of his major texts are Typogra'e als Kunst and Die Kunst der Typographie. He created a new set of guidelines for good book design and invented the popular Futura, a geometric sans-serif font used by many typographers through-out the &'th century.
115
… 1900 … 1950 1970
;#+ C#+ E(1)I&+ (0kn- – 0nlk) was a Dutch typographer and type designer. He worked for printing house Koninklijke Joh. Enschedé.Van Krimpen’s type designs are elegant book typefaces, originally made for manual print-ing and the monotype machine. Although a good few have been digitised (Romulus, Haar-lemmer, Spectrum), the typefaces are only rarely used in publications.
Of special note is the Romulus ‘superfamily’, consisting of a seri3ed font, a cursive, a chan-cery italic, a sans-serif, and a Greek in a range of weights. Such an exten-sive family would have been a 1rst, comparable to today’s Scala family. 2e the Second World War disrupted the proj-ect before completion. After the war, he was not interested in resuming it.
@*J&( =:4*66*+ (0n0/–0nko), French typeface and graphic de-signer born in Marseilles, studied law and then moved to Paris to ap-prentice in a print shop. In 0n.p he formed his own advertising agency and concurrently became design director of a small foundry in Marseille called Fonderie Olive. Later he co-founded the prestigious Studio U+O.
Exco3on’s best known faces are Mistral and Antique Olive. Air France was one of his largest and most prestigious clients. 2e airline still uses customized variant of Antique Olive in its wordmark and livery. His typefaces have an organic vibrancy not found in similar sans-serif types of the period. 2ey gave voice to an exuberant body of contemporary French and European graphic design.
K&(? "$?#"1+New York graphic de-signer, dean of American art directors since World War II, type designer since 0np/. A founder of ITC, he edited its magazine U&lc until his death in 0nk0. In 0nk. he was posthumously awarded the TDC Medal, the award from the Type Directors Club presented to those “who have made signi'cant contributions to the life, art, and craft of typography”. ITC Avant Garde Gothic is a font family based on the logo font used in the Avant Garde Magazine. [,*h J@h%5+# devised the logo concept and its companion headline typeface, then he and R"G ^%*#%D,, a part-ner in Lubalin’s design 1rm, worked together to transform the idea into a full-eedged typeface.
K&()#++ F#I6 Contemporary German calligrapher, teacher, book designer and type designer associated with Stempel, Linotype, Hell, ITC, and Bitstream.
Zapf has designed some of the &'th cen-tury’s most important fonts, including Palatino and Optima. He recently worked with David Siegel, Apple, and Linotype to create Zap'no, a font of his calligraphic handwrit-ing; special features en-able it to adapt itself to the text it is displaying. He is married to ?@A*@# f%)9 B"# [,DD,, also a calligrapher and type-designer.
from MyFonts.com
3@L/-'=@ is a sans-serif typeface by the Swiss type designer jA*+%# =*@$+S,*. It was commissioned in (:X> by the newly built Charles De Gaulle International Airport at Roissy, France, which needed a direc-tional sign system. 2e typeface, originally called Roissy, was completed in (:;< and installed at the airport the same year.
His goal was to create a sans-serif typeface with the rationality and cleanliness of Univers, but with the organic and proportional aspects of Gill Sans. Ascenders and descenders are promi-nent, and apertures are wide to easily distinguish letters from each other.
K&"C&<14# was developed in (:<; by E%q E+,A+#S,* with CA-@%*A ["99G%## at the Haas’sche Schriftgiesserei of Münchenstein, Swit-zerland. Haas set out to design a new sans-serif typeface that could com-pete with the successful Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, its design was based on Schelter-Grotesk and Haas’ Normal Grotesk. 2e aim of the new design was to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage.When Linotype adopted Neue Haas Grotesk its design was reworked. After the success of Univers, j*$7@* b+$V,5 of Stempel redesigned Neue Haas Grotesk into a larger family.In (:X', the typeface’s
8&"" !&+<&++1#" is a family of four weights, designed by E%$$7,_ ^%*$,* at Mergenthaler, to take ad-vantage of the then-new-er composing and print-ing technologies, while still compensating for the limitations that did exist.
Bell Centennial is a condensed sans-serif design that maintains legibility at very small sizes, allows for clear information structures, is economical on space, and accommodates for adverse production conditions; all while keeping to an intended typographic style.
Since the intended 1nal use was so speci1c, the restrictions on the
design were extremely stringent, down to the minimum thousandth-of-an-inch in stroke weight, but this was all solved through careful planning and extreme attention to detail.
excerpt from an article
by Nick Sherman
nicksherman.com/articles/
bellCentennial.html
name was changed by Haas’ German parent company Stempel to Helvetica (derived from Confoederatio Hel-vetica, the Latin name for Switzerland) in order to make it more marketable internationally. It was initially suggested that the type be called ‘Helve-tia’ which is the original Latin name for Switzer-land. 2is was ignored by CA@%*A ["99G%## as he decided it wouldn’t be ap-propriate to name a type after a country. He then decided on ‘Helvetica’ as this meant ‘Swiss’ as opposed to ‘Switzerland’.
Learn more
Helvetica, the film
left to right
Linotype
Gutenberg.org
Lettering Art from Eric Gill
MyFonts Newsletter
Specimen for Italian Old Style
by Goudy
UnosTiposDuros.com
N from Bell Centennial
showing the ink-traps
unless specified otherwise
all texts from Wikipedia
RESEARCH UTOPIAN TYPEHISTORY
116
1980 1990
f@V%#% J+!F" is a typeface designer from Bratislava.Born in Czechoslova-kia, J+!F", emigrated to the US with her family as a schoolgirl. She studied architec-ture, photography and computer programming before taking a degree in graphic communica-tions at the University of California at Berkeley.
In the mid-(:>'s f@V%#% J+!F" and b@A\ Y%#A,*5%#D founded Emigre. Emigre produced the magazine, Emigre, and designed and dis-tributed original fonts. Y%#A,*5%#D was editor of the magazine, while J+!F" was responsible for many successul Emigre
M&<<&((*(C*+F B%# N5"F5%#A and L@D$ B%# b"DD@G stud-ied at the Royal Academy for Fine & Applied Arts in !e Hague. Encouraged by their teacher ?,**+$ T""*AV+U they studied the design of typefaces, which happened to co-incide conveniently with the invention of desktop publishing and fonts.
Their cooperation, branded LettError, started in Berlin in the form of the randomising typeface Beowolf. Now more than (' years later they still work separately together on various projects. 2at means that there is no LettError o`ce, but still typefaces (Instant Types, Trixie, Advert, Kosmik, Federal), typography, graphic design, sites and movies get produced.
from LettError.com
M$4#5 %& '(**< is a Dutch type designer. He is the head of the type foundry Fontfabrik.
He is mostly known for the very large font family !esis (!e-Sans, !eSerif, !eMix, !eSansMono and later !eAntiqua) and Corpid.
De Groot has also designed various custom fonts for particular cli-ents: Calibri and Consolas for Microsoft; SunSans for Sun Microsystems; SpiegelSans and Taz for, respectively, the German magazines Der Spiegel and die Tageszeitung; and FolhaSerif for the Brazil-ian newspaper Folha.
De Groot teaches at the Design Faculty of the University of Applied Sci-ences, Potsdam, Germany.
'&(#(% L+J&(Born at Arnhem, Neth-erlands, (:a&. Studied graphic design, typog-raphy and type design from (:XW–’X; at the Gerrit Rietveld Academy, Amsterdam. He teaches as visiting Professor at !e University of Read-ing, UK, Department of Typography and Graphic Communication, and he is Professor of Typography at Leiden University, the Netherlands. Freelance designer from (:;&. He has designed stamps, coins, magazines, news-papers, books, logo’s, cor-porate identities, annual reports and many other objects, and typefaces.
He has been awarded several Dutch and
3(&% 5)&19&(5is a Dutch graphic, type designer and writer.
In the mid->'s Smei-jers started to develop an interest in the early (Xth century technique of punchcutting. 2e insights he acquired from these experi-ments ineuence the way he designs typefaces. 2is is the most appar-ent in his typeface FF Quadraat, a classic book typeface with interesting details. Other Smeijers’ retail typefaces are FF Quadraat Sans and FF Quadraat Mono, Renard, Nobel (co-designed with Andrea Fuchs for Dutch Type Library), Arnhem, Fresco, Custodia, Sansa, Monitor, and Ludwig for
fonts. In the mid-(::'s, J+!F" worked on two no-table revivals: Mrs Eaves, based on Baskerville, and Filoso'a, based on Bodoni. Both are J+!F"’s personal interpreta-tions of their historical models and each features extensive ligatures.
international prizes and honours, such as two honorary doctorates by the universities of Hasselt, Belgium and Tallinn, Estonia. He has written articles for the trade press, and several larger publications, such as Landscape with Let-ters ((:>:), linking the usually limited scope of type and typography with a wider cultural view. His book Terwijl je leest — about reading —has been translated in Italian, English, Spanish and German. He lectures frequently in Holland and abroad, about his own work, type design, the reading process, and related subjects.
from MyFonts.com
OurType—the foundry he set-up with b@A\ ?,,*%,*$D in &''&. Smeijers is a research fellow at Plantin Moretus Museum in Antwerp, Pro-fessor of Type Design at the Hochschule für Gra'k und Buchkunst, Leipzig and at the Royal Academy of Arts, 2e Hague.
In &''' he received the prestigious ?,*-*+$ T""*AV+U Z*+V,, awarded by !e Royal Academy of Arts in 2e Hague to honor innova-tions in type design and outstanding contribu-tion to type education.
left to right
‘Zuzana Licko’
set in EM Mason Sans
Part of Emigre Catalog 2010
Pierre Di Sciulo’s bio
set in his Amanar
‘Meran’
set in OurType’s Meran
Portrait of Fred Smeijers
from hgb-leipzig.de
117
1980 1990 2000 2010
/AI*6*+%&(1&Porchez Typofonderie, based in Clamart, France, is the creative home of L,%# =*%#r"+D Z"*!7,V. Since (::a, he has de-signed custom typefaces for clients including Le Monde newspapers. He is hononary President of the Association Typographique Internationale, has taught type design in schools and workshops all over the world, and founded the french community Le Typographe in &''W.
He was awarded the Prix Charles Peignot in (::> and numerous other prizes for his typefaces.
from Typekit.com
/AI*<>&N$& is a type foundry and design studio from 2e Hague, Netherlands that develops and markets original typefaces. 2e typefaces are designed by Slovakian Z,$,* N+s%F, including the popular Fedra Sans and Fedra Serif font families, and Jigsaw designed by L"7%##% N+s%F. Typotheque special-izes in creation of Latin and non-Latin fonts
Typotheque’s work has been recognized by !e Type Directors Club.
from Typekit.com
House IndustriesKnown throughout the world as a proli1c type foundry, House In-dustries has made a considerable impact on the world of design. House Industries fonts scream from billboards, wish happy whatever from tens of thousands of greeting cards, serve as the basis for consumer product logos and add elements of style to a wide range of main-stream media. In their illustrious career, House artists have mastered a large cross-section of design disciplines. 2eir typography deftly melds cultural, musical and graphic elements. From early forays into dis-
!"& 0#$" is one of the founders of the 6@A$+)"D project, the 1rst Argentinean type foundry collective.
Ale’s career as an art director landed him in some of Argentina’s most prestigious studios, and handling such high-pro-1le corporate brands as Arcor, Procter & Gamble, SC Johnson, Danone, and others. With the found-ing of 6@A$+)"D in &''&, Ale shifted his e3orts to typeface design, creating fonts and lettering for several top packaging agencies, along with commercial faces.
He has walked away with awards from numer-ous design competitions. He has received three Type Directors Club TDC, awards, in &''> for Bur-gues Script, &'': for Adios Script and recently a new one for Poem Script.
from AlePaul.com
M#$(# H&5&J$&( is a graphic designer and type designer living and working in Barcelona. She was the co-founder of the studio Cosmic and now she runs her own studio, where she develops projects related to identity, editorial and typeface design. In &''W–&''a, she took a year o3 from her regular work to study type de-sign at the post-graduate course Type]Media at the Royal Academy of Arts in 2e Hague. Rumba, the
is an ineuential type foundry in New York City, run by designers L"#%$7%# [",95,* and R"h+%D =*,*,-L"#,D. Founded in (:>:, [t=L develops fonts for both the retail market and for individual clients.Beginning in the early (::'s, !e Hoe?er Type Foundry became a dominant voice in editorial typography, with important com-missions for Rolling Stone, Sports Illustrated, Harper’s Bazaar and !e New York Times. [t=L remains heavily involved in editorial design, with recent commissions from Martha Stewart Living, !e Wall Street Journal,
Esquire, Wired and Condé Nast Portfolio as well as corporate typefaces created for Ti(any & Co., Nike, Inc., and Hewlett Packard. [t=L works with a number of prominent institutions in New York City, including !e United Nations, !e Guggenheim Museum, !e Whitney Museum, Lever House, Radio City Music Hall, and !e New York Jets.
[t=L’s Gotham—released in &'('—
because of its connection to New York City history, was selected in &''a for the cornerstone of Free-dom Tower, to be built on the site of the former World Trade Center.
tressed digital alphabets to sophisticated type and lettering systems, House Industries’ work transcends graphic conventions and reaches out to a broad audience. What ultimately shines in the House Industries oeuvre is what always conquers mediocrity: a genuine love for their subject matter..
from HouseInd.com
typeface she designed as part of this course, was selected in the TDC TypeDesign Competition ,++>. She has partici-pated in many exhibi-tions and conferences in Europe and is professor of typography at Elisava and at the Master on Advanced Typography at the Eina school of art and design, both in Barce-lona. She is the author of the book TypoMag. Typography in Magazines published by IndexBook.
from MyFonts.com
left to right
‘Hoefler & Frere-Jones’
set in Ideal Sans
‘A’ from Ale Paul
set in Adios Script
‘House Industries’
set in Signpainter
‘E’
set in Eames Century
Modern Stencil — Released
in 2010 in collaboration
with Erik van Blokland
Laura Meseguer teaching
at Eina, Barcelona
photo from Eina.edu
unless specified otherwise
all texts from Wikipedia
RESEARCH UTOPIAN TYPEHISTORY
Quirza, my dear, I loved touching your curves,
but it’s time to move on. You were pretty from afar
and far from pretty.
