Analysis Of Matthew Carter's Works

The type designer I chose is Paul Renner he was an graphic artist, type designer, author, and teacher from Germany in the late 1800’s early 1900’s. As he started his artistic road he began in the study of architecture and painting in Berlin, which led him to work as a painter. Then he cofounded a private school of illustration in Munich. He was also the designer behind the typefaces Futura, Plak, Futura Black, Futura Schlagzeile, Ballade, Renner Antiqua, and Steile Futura. These typefaces are still being used today in big movie titles.

After researching one of my favorite typefaces I decided to do it on Paul Renner who has had an impact on typography. Paul Renner was a well-known typeface designer. He was born August 9, 1879 in Wernigerode, Germany and died April 25, 1956 in Hodingen, Germany. He was also a graphic artist, type designer, a typographer and a remarkable painter and teacher. One of his most popular typefaces he designed is called Futura. The Futura typeface was one of the most successful and most used type of the twentieth century. Renner attended a Gymnasium, a secondary school where he studied humanities. Students that studied Greek and Latin for nine years which was what Renner did provided students with a ticket to higher education. What he chose after

1989 the ITC Slimbach and Giovanni. There are different kinds of typefaces and ways in which

Franklin Gothic is a font style that is unique in its design and has set the standard as the look for many print-based businesses. Franklin Gothic’s creator was a man by the name of Morris Fuller Benton, who also designed or redesigned over 200 typefaces in his lifetime, but of course one of his most popular being franklin Gothic. Franklin Gothic has been used in numerous logos such as Showtime and New York University and also in the titles of magazine articles such as Time Magazine and subtitles such as Star Wars. The simplicity and the boldness of Franklin Gothic makes this font a classic that has been prominent from the time is was created to now times.

Then in 1994 he formed Neville Brody Studio but is now known as Research Studios, which has had much success and has since expanded to include offices in London, Paris, Berlin and Barcelona. He is also a founding member of the London-based type foundry Font Works and has designed over 20 different typefaces during his career. He was also a majorly involved in FUSE, which was a publication about the practice of experimental typography and was a regular user of the computers as a design tool during the developmental stages.

John Baskerville was an Englishman who worked in and is remembered for his work as a printer and type designer.

In the previous installment of this series, we took a closer look at Transitional style typefaces, so-called because they mark a transition from the former Old Style types—epitomized by Baskerville—and the subject of today’s brief history, the Moderns, also known as Didone (the terms Modern and Didone are used synonymously throughout this article).

Herbert F. Lubalin was one of the most memorable graphic designers who has prominently impacted the world of graphic design, undoubtedly inspiring graphic designers of his time and of the future. Herbert F. Lubalin was born on March 17, 1918, in New York, United States. At just seventeen years old, Lubalin began his college life at a private institution located in Cooper Union. This is where he learned the basics of typography which very quickly became his fascination. He loved the fact that a typeface had the power to instantly change the way words came across to the viewer. He graduated college in 1939 and began his rocky hunt for a suitable job. After being fired from his first job at a display firm for requesting a two dollar rise on his

Frederic Goudy was born on March 8, 1965 in Bloomington Illinois. He is one of the most prolific typeface artists we have ever known. Creating over 100 typefaces over the course of his career including Garamond, Goudy Old Style and Kennerly. Goudy was the only one of his generation to devote his career solely to creating type design. In 1903 in Park Ridge Illinois Goudy started the company Village Press. In 1904 he moved to Massachusetts and again to New York in 1906. There were several more moves before he finally settled in 1923 in Marlboro, New York where in 1939 the workshop burned down. Goudy passed away on May 11, 1947 in Marlboro, New York but his artistry is still alive and in use today.

This was the dawn of the computers and they were right there using this new technology to the fullest. At the time, font choices were limited so when Zuzana started designing fonts on her Macintosh, they were used in Emigre magazine as well as sold to support the magazine. Emigre Fonts became one of the first digital type foundries. Rudy and Zuzana did not consider themselves radicals at the time but there were some that did not like what they were doing. Steven Heller was one of them. He wrote an essay in 1993 about postmodern design entitled, “Cult of the Ugly”, in which he criticizes Rudy Vanderlans. Heller states (pulled from Puckett’s

Arthur Eric Rowton Gill, born in Brighton, England in 1882. Born in a family of twelve, he was the elder brother of another well-known graphic artist, MacDonald Gill. His family did not stayed long in Brighton, as they moved to Chichester in 1897. Afterwards, Eric attended to Chichester Technical and Art School. Three years later, he moved to London as a trainee to become an architect with the practice and help of specialist in ecclesiastical architecture, W.D. Caroe. Soon after, he became unsatisfied in his architectural training, deciding to study at Westminster Technical School, where he attended in evening classes in stone masonry. In addition, he also decided to practice calligraphy at the Central School of Arts and Crafts. It was there that he met one of his major influences, Edward Johnson, the creator of the London Underground typeface. After three years from his training in architecture, he gave it up and decided to become a calligrapher, letter cutter and monumental mason.

Celso’s is always thinking and starts his fonts by sketching. He believes that a font is not just created overnight, but takes some time for the letters to mature, like wine. “The deeper the view of the creator and the more committed his search, the richer the results will be.” (Celso,

Often, when deciding what typeface will be utilized within a document, there are numerous decisions that must be factored in. The decision to use a particular typeface should be based on the rhetorical situation, which means before settling on a typeface the designer must consider their audience, the purpose of the document, and the context in which a reader will be using the document (Kostelnick & Roberts 5). The designer must also keep in mind that “the more outlandish the typeface, the harder it is to read” (Ogilvy 96). The typeface that is chosen to be used within the design must suit the document in order to attract and communicate the message properly with the intended audience.

First beginning its journey in the 1830s, the telephone started out as a simple telegraph, invented by Samuel Morse (history.com). According to Antonio, the telegraph was the first seen form of long distance communication. The telegraph evolved slowly within the years to come as Alex Graham Bell sought to improve this machinery and advance it in hope of creating hearing aids for his mother (pbs.org). Throughout time the telegraph evolved into what today’s generation calls a telephone.

Typefaces have a vital role in expressing any emotion along with the composition. Typefaces have personalities- cold, sophisticated, wild or friendly- which helps to establish the attitude of the design. They provide an immediate first impression that is critical to the delivery of the message. Type has the power to engage or disengage the viewer and that is why they must possess the proper character to bring out the sprit of the design.