Designer Alejandro Lo Celso Research Paper

Between the years 1996 and 2001 Ray created 250 free font families which were released on his web site. Then in 2001 he started the Typodermic Fonts Company and continues to update and expand the original Larabie Fonts family. His fonts and style is very diverse and different.

Palatino was named after the sixteenth century Italian master of calligraphy, Giambattista Palatino. The typeface relates to the humanist types of Italian Renaissance; the usage of a reflection of a broad nib pen to relate to Zapf’s practice in calligraphy. However, Palatino uses larger proportions to provide legibility while Renaissance types usually provide smaller letters along with the extended vertical lines (ascenders/descenders) and lighter strokes. The long ascenders and descenders provide a more legible feature. Many experts refer to the typeface “Book Antiqua” to be a close replicate of Palatino. Both Windows and Microsoft Office include this typeface.

On March 17, 1918, Herbert F. Lubalin was born in New York, United States. When he was seventeen, he was enrolled in a privately funded college in the East Village, Cooper Union. An array of possibilities offered by the field of typography as a communicative implement fascinated him. Lubalin learned about the fundamentals of typography and was awestruck by the impact a typeface can have if traded with another and how it affects the whole text’s interpretation. Upon receiving his graduation degree in 1939, he had a rough time searching a suitable job. He was able to get a job at a display firm, though he got sacked after requesting a two dollar raise on his weekly salary.He was a prodigious worker, concerned

Therefore, the text appears clearly when printed at small sizes. Though Zapf created this typeface because he was influenced by the Italian Renaissance letter forms, but, never got to visit Italy until he finished the Palatino Roman. The Palatino typeface has other varieties which differs in spacing and features. In 1999, Hermann Zapf revised the typeface and created Palatino Linotype for the Linotype and Microsoft companies. It was also extended in different languages like Latin, Greek and Cyrillic and was significant for being the first western OpenType font. Another version of this typeface was Palatino Nova, which was also co-designed by Akira Kobayashi. This typeface family also includes different styles like roman and italics. One of the other is Palatino sans, which is a sans-serif design and resembles Optima; another typeface created by Hermann Zapf. There are other versions of this typeface like, Palatino Sans Informal, Palatino Arabic and Palatino e Text. The few characteristics of Palatino are clean letter forms and open counters have made it a font that is very easy to read. This is the main reason for this font to reach the heights of success.

A lot of typographers work behind the scenes and are not often recognized for their innovative designs, and showmanship. Larabie has been criticized for years for creating fonts that are free to the public, but by doing this he has given himself the opportunity to express his work continuously. A designer who is passionate and creative will always create a large impact in the design industry. Other designers will be able to utilize the old techniques, and create them into something more than just a pretty, or sharp design, but a rather intriguing, and unique display that showcases the elements that a designer needs for a great design.

The word “Weingart” originated from his students. This began the era of “The Weingart Style” and it spread around. I will explore the differences of Wolfgang Weingarts work and the International Swiss Typography style. Showing how his work is unique compared to the modern swiss typography. I will focus on a range of different techniques that Weingart experimented with and how he implemented this into his projects. This essay will show how weingarts work differentiates to swiss typography style, showing how effective and unique his style is in comparison to the swiss. You will learn an understanding of Weingarts expiermental designs and how he created these through some inspiration from the swiss design, as one of his former students states

Always a strong proponent of functional design, Tschichold looked at design with a utilitarian point of view. According to Tschichold, functional designs show a greater understanding of typography’s role: communication (Eskilson 233). In order to achieve clarity in communication, Tschichold was convinced that type should follow a logical flow on the page, predetermined by content; form follows function. Tschichold wrote, “Every part of a text relates to every other part by a definite, logical relationship of emphasis and value, predetermined by content. It is up to the typographer to express this relationship clearly and visibly, through type sizes and weight, arrangement of lines, use of colour, photography, etc.”(67) By 1928, and the release of The New Typography, Tschichold was a staunch promoter for the exclusive use of sans serif type and asymmetrical layouts, believing these the most efficient way to achieve clarity of information. “His work… was functional, aesthetically satisfying, and designed for reproduction by machine-type composition and newer printing technologies” (“Jan Tschichold…”). Later in life, Tschichold abandoned his views on the exclusive use of sans serif fonts and asymmetrical layouts, realizing that in certain circumstances, symmetrical layouts and traditional serif fonts were more appropriate and more functional,

Understanding how the eye reads is an important factor in determining the optimal typeface for a given project and thereby ensuring that your message is easily read and understood. Think about the mechanics of exactly what you are doing right now. Your eyes are moving across these lines, scanning from left to right, pausing momentarily to direct information from your eyes to your brain. Through the type on the page, I have started a conversation with you and you may have been unaware but you are taking part in the conversation too. Little do you know you are also contextualising what you are reading, through your past conversations and experiences. There are numerous circumstances that affect ones reading experience and it is through the

There are hundreds of typefaces out there, and in order to have an efficient design, being savvy with typography is a must. In order to be a successful designer, or to be effective at marketing your brand, one must realize that typography is more than just a choice of fonts, it’s a science. Typefaces can make or break your campaign or design piece, as it plays a vital role in how effective your text is at being persuasive with your message or objective. Remember, choosing the right typography can help deliver your message successfully by bridging the gaps between your text, graphics and objective. By not paying attention to your typeface, you risk losing your audiences interest and engagement, and will diminish the overall effectiveness of your message.

D.B. Updike’s 1922 Printing Types considerably enabled the efforts of revival in historical typefaces and Stanley Morison became the principal figure in their revival. (Kinross, 2004, p. 70) But the period of most intense activity for the reform movement came to an end around 1930. The recession and cut backs being obvious economic explanation. (Kinross, 2004, p. 78) With the depression era came a level of poverty unlike many had seen, demanding the priorities of life needing evaluation. While the Society of Typographic Designers was a marginal, if persistent, organization, without the scope or the forum of discussion necessary to work out any independent approaches. (Kinross, 2004, p. 81) They helped to keep the industry afoot regardless of financial hardships limiting production, making future advancements a possibility. Printers being among those advancements, making production much easier.

The 1950s saw a boom of the International style when it was epitomized with the creation of several new san-serif type families. The geometric fonts on the 1920s and 30s was rejected in favor of designs inspired by Akzidenz Grotesk fonts. Two fonts would soon take the world by storm. In 1954 a Swiss designer working in Paris by the name of Adrian Frutiger created a family of 21 san-serif fonts which he named, Univers. At the same time, back in Switzerland Edouard Hoffman of the Haas type foundry in Switzerland felt that the Akzidenz Grtotesk fonts should be refined and upgraded. Hoffman had been waiting for the right moment to release a new typeface and in 1956 he contacted Max Miedinger, who had worked with him at Haas and had since branched out as a freelance consultant and designer to help create the new typeface for Haas. Hamburgers. No, not the food, the word. Miedinger began to create a new typeface by working out the letters in the word, hamburgers, a word that includes all stylistic variations of letters. First working on pencil and paper and then creating photographic reproductions Miedinger set out to create

Letters; they don’t just make up the words on a page or a screen. Forms, counterforms and volumes of shape that interact with other characters and space are important considerations in a character. Matthew Carter took the in-depth knowledge he gained of the physical forms of letters and transcribed new and ever-lasting typefaces from it to become one of the most impactful typography designers of current times.

They both are sans-serif typefaces that are universally embraced by different applications. At first glance, they seem extremely similar. But if designers examine the characters in each typeface closely, the differences between them become apparent. Mark Simonson, an American graphic designer, produced an analysis of these two typefaces, showing how much more refined Helvetica than that of Arial (Simonson, 2001). The primary difference between the two is the treatments of their endings. While Helvetica is vertically cut, Arial is slightly angled. For instance, the tail of the ‘a’ is gently curved in Helvetica, as is the first connection of the bowl to the stem, but not in Arial. Similarly, the top of the ‘t’ and the ends of the strokes in the ‘C’ and ‘S’ are perfectly horizontal in the former, but slightly angled in the latter. Even though the distinguishing details are so tiny that cannot be noticed unless they are scrutinized as Simonson has done. Yet it is these subtleties that constitute Helvetica a finer example of design than Arial, especially for professionals. Functionally the two types are roughly equal, both are admirably clear, but aesthetically Helvetica is

As we have seen from this case, typefaces, more than any other design elements, provide a link to the history of printing and how technology influences the concept of ‘normal’. The development of ‘normal’ rests on how human interfaced with the technology: partly on the new added or disappeared constraints; partly due to the different interactions in a totally new context. Design is refining the ‘normal’ bit by bit so that the typefaces as well as other products are still fits in with people’s life with the core of absence and familiarity and finally exceeds ‘normal design’ to ‘Super Normal design’ by the judgement of time.

Other attributes for fonts include size, letter width, stroke width, and leading. All of these qualities combine to produce a great number of options for users. Likewise, there are as many types and variations of users as there are fonts, and consequently these audiences have unique needs for reading and for font usage. The elderly prefer a different font than younger people (Keller 1997). Normal vision readers have a greater advantage in seeing than low vision persons, so special considerations must be made for those less fortunate (Mansfield, Legge, & Bane 1996), and persons reading from print are affected differently than those viewing a computer monitor. Researchers have considered these differences and have put fonts and their traits to the test.