The Difference Between Arial And Helvetica

The subject of this artwork by Rose Jaffe is a professor of ceramics at the University of Michigan. The theme explored is a professor drawn, using monoprint from a sort of bird’s eye view. This artwork is relevant to Rose Jaffe as some of the work she does is monoprinting of portraits. To work with our theme of text in art we are using monoprinting to draw out our designs with text and repetition– so this artwork is relevant to me as well. The fact that the actual drawing is quite small on the page and that Rose uses different mark making appeals to me visually. The relationship between the visual elements communicate the use of monoprinting to make aesthetically pleasing work. As this work is simplistic and their isn’t a busy composition,

Lessons that might have been learned and inspiration that might have been found will be lost” (Porter & Eilts). These words show that in due time, humanity will lose understanding of the written word. We will no longer be able to understand what our ancestors left behind. What they fought hard to make will lose its meaning in a world with no cursive. The handwriting of those many individuals is a personal quality that people in the 20th century can relate to.

The anecdote entices the reader and her poetic description of the way each stroke of a letter can be subtly varied and the way the letters smudge. Connects her with the reader as a person and not an endorser.

Carr uses the example of Friedrich Nietzsche, who became blind while in the middle of his writing career. Carr states that Nietzsche was able to keep writing and sharing his ideas by using the typewriter, but his writing changed to be more straightforward in style and more “telegraphic” than his normal poetic prose (153). The example of Nietzsche demonstrates that although technology seems to have many advantages, it also hinders a writer’s style. This example adds to Carr’s argument that technology is not always beneficial; the example of Nietzsche is more objective than a personal anecdote, so it shows the direct consequences of relying on technology. Nietzsche’s writing changed drastically after using the typewriter, which implies that technology can influence any aspect of life.

In the chapter “The Word on the Streets,” Craig Clunas discusses calligraphy’s power in a society where both literate and illiterate people can understand. He explains that the “writing’s color, materiality, and form” matter more than what the actual content (84). Therefore, even illiterate people can comprehend the importance of a piece of writing (84). In fact, calligraphy on placards were used as a “form of social control,” and this even worked on people who did not understand the words (85). For example, there were some texts so powerful that just their presence was enough to be “an instrument of punishment” (88).

He also worked at freelance in London between 1972 up to 1979. He is a member of the German Design Council board and past president of the International Society of Typographic Designers (ISTD) and the International Institute for Information Design (IIID). He is also a professor at the University of the Arts in Bremen and he received an honorary doctorate from Pasadena Center of Art. As a typographer, he has made many accomplishments in his life such as being the founder of the following typefaces: FF Meta, ITC Officina, Lo-Type, FF Unit, Berliner Grotesk, FF Info and many more.

Typography is a tool for creating an emphasis on a page through readability. It can direct the reader where certain things are on a page that; acting like a map. Every reader is subconsciously

A personal favorite of mine and a film that made me want to pursue my career in Graphic Design. Following on from Helvetica, Gary Hustwit’s second film looks at the world of design and the creative concepts behind objects used every day such as toothbrushes to tech gadgets.

Graphic design set its first roots in Germany in 1455 with the introduction of the Blackletter typeface and Johannes Gutenberg’s Gutenberg Bible. Coined as the godfather of printing Gutenberg helped to spread Blackletter in popularity. With the advent of Martin Luther’s New Testament, however, a schism was created between those that chose to use

Futura is a sans serif typeface. It is classified as geometric, meaning that the looks of the letterforms are based on geometric shapes. The bowls of the letters are almost-perfect circles and the peaks of some letters such as W’s and uppercase A’s create triangles. This gives the letterforms a very simple look that can be broken down into just a few key elements. For example, letters such as the lowercase ‘d’ and ‘b’ are made up of a circle and str¬aight, vertical line on one side, and letters such as the uppercase ‘T’ are simply made up of two perfectly straight lines—one horizontal and one vertical, with the vertical line extending directly below the center of the horizontal line. The lowercase ‘t’ changes things up a bit with the fact that the two lines are off-centered. Instead of being directly in the center like the uppercase, the vertical line is positioned slightly to the left. The lowercase ‘f’ mimics this as well.

Mrs. Eaves is a transitional serif typeface designed by Zuzana Licko in 1996 for the type foundry Emigre she ran with her husband. Mrs. Eaves was designed as a display variation on the Baskerville font designed in 1757 by John Baskerville, and named after his housekeeper Sarah Eaves whom he later married; she would later go on to print the rest of his unfinished journals after he died. Zuzana Licko is one of the first typographers to use the Macintosh computer in its’ early pre-design days, as a tool for typographic design, experimentally using bitmaps to design her typefaces.

... there was to both outward patternings a hieroglyphic sense of concealed meaning, of an intent to communicate.There'd seemed no limit to what the printed circuit could have told her (if she had tried to find out) ...[2]

In the beginning of chapter four, The Typographic Mind, Neil Postman delivers an impressive narrative argument about the impact of print information culture on 17th and 19th century minds. Postman makes a few claims with respect to the contrasts between the written and spoken word. In this essay, there are four qualities of the typographic mind: attention span, listening ability, knowledge of issues, and literary language.

In 1436 Johannes Gutenberg invented the Printing Press, which had a major impact on both the Renaissance and printing today, however there other movable type systems invented before Gutenberg’s Printing

The aim of this paper is to find out/detect whether Daniel Defoe considered/regarded the typography in general and the italic font in particular