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.
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.
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
Throughout time, there have been countless artists, designers and typographers that had the opportunity to make a bold statement, invent the next best thing or to engrave their name in the design industry for all eternity. Although ordinary people don’t realize a good design when they see it, they know it has attracted them somehow and they feel the need to ask and wonder how it came to be. Without question, Eric Gill has note ably revolutionized the type world. Without him there would be no benchmark for humanist typefaces; without Gill, there would be no Gill Sans, the font that will consistently be seen as a crisp, clean and readable font; as all typefaces should be. Despite for his one notorious face, he has created 11 typefaces, wrote
Neue Helvetica, as the outcome of technological changes, was designed in 1983, represents a synthesis of aesthetics and technical refinements and modifications that resulted in improved usefulness: a number of characters were subtly changed to be more consistent and more harmonious with the overall design characteristics. For instance, the x-height has been adjusted to appear visually the same in all weights. The x-heights in previous versions were all the same, but since type tends to look shorter as it gets heavier, the new x-heights compensate for this optical illusion. Besides, the crossbars on the lowercase ‘f’ and ‘t’ were widened to increase the legibility in text. Additionally, the Neue Helvetica family was extended to 51 weights in all, which are many more than in the original
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.
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,
... 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) ...
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.
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.
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.