typography blog: four

Font Classifications
_ Old Style: characterized by a diagonal stress (the thinnest parts of letters are at an angle rather than at the top and bottom), subtle differences between thick and thin lines (low line contrast), and excellent readability

• Garamond, Janson, Bembo, Palatino, Goudy Old Style

_ Transitional: sharper serifs, more vertical axis, differences between thick and thin stroke weights more defined

• Baskerville, Times New Roman, Cambria, Georgia, Bookman

_ Modern: characterized by extreme contrast between thick and thin lines. Modern typefaces have a vertical stress, long and fine serifs, with minimal brackets. Serifs tend to be very thin and vertical lines are very heavy.

• Bodoni, Walbaum, Didot, Computer Modern, Vertrina

_ Slab Serif: usually have little if any contrast between thick and thin lines. Serifs tend to be as thick as the vertical lines themselves and usually have no bracket. Slab serif fonts have a bold, rectangular appearance and sometimes have fixed widths, meaning that all characters occupy the same amount of horizontal space (like a typewriter).

• Clarendon, Rockwell, Courier, Egyptienne, Playbill

_ Sans Serif: oes not have the small features called serifs at the end of strokes, more used for headlines than body texts, helps guide the eye along a line of text

• Gill Sans, Helvetica, Futura, Arial, Tahoma

_ Script:  based upon the varied and often fluid stroke created by handwriting. They are organized into highly regular formal types similar to cursive writing and looser, more casual scripts.

• Kuenstler Script, Snell Roundhand, Brush Script, Kaufmann, Mistral

_ Blackletter: script used throughout western europe from approximately 1150 to well into the 17th century, heavy, not easy to read

• Airam, Albert Betenbuch, Amador, Anasdair, Archangel Body

_ Grunge: 

• 
  

_ Monospaced

• 
  

_ Undeclared

• 
  

My font: Clarendon

_ Serif
_ Robert Besley
_ 1845
_ Slab-serif
_ Black, Bold, Bold Condensed, Condensed, Extra Bold, Heavy, Light, Medium, Regular, Roman

now for a post from negative nancy!

the image is by dan perjovschi. i love his work, check out his website.

and if you reaaaaally like him, his work is currently on display in the central court of the sma.

my feelings exactly, lolcat.

couldn't help but to think of this during the class critique today. 

yet another distraction in the form of typography layouts.

warning: the "randomize" button does not always make aesthetically pleasing designs. woof.

and finally, typography and vis-com, combined into one dope line drawing! that fox is lacking tail, my friend.

typography blog: three

adrian frutiger: Adrian Frutiger is a type-designer from Switzerland. He began his career as a printer’s apprentice near Interlaken and later moved to Zurich where he studied at the Zurich School of Arts and Crafts. Upon completing his education in Switzerland, Frutiger moved to Paris where he began working at the Deberny and Peignot typefoundry. While moving classic typefaces used with traditional printing methods to newer phototypesetting technologies as part of his work, Frutiger began to design his own typefaces. These typefaces became very significant in the typography world and led to Frutiger producing several books. His typefaces were so influential that they are still readily available from foundries around the world. A few of Frutiger’s most well known typefaces include Vectora and Serifa. But his first commercial typeface was President, a set of titling capital letters with small, bracketed serifs. Later Frutiger developed his most popular typeface, Univers. Upon seeing this typeface, the public transport authority of Paris asked Frutiger to redesign their metro signage. The font was a variation of Univers which was later released to the public under the name Frutiger. In addition to more projects from various companys and foundries, Frutiger has won several awards and was recently inducted into the European Design Hall of Fame.

univers is unique because it was the first typeface to be categorized by numbers. in addition, though the font family has varying widths, the @ is mark is not rescaled by width. the univers grid is a way of organizing the typeface by weight and width and position, reducing confusion.