1. SM2222: Information Design and Visualization Session 3: Typography 23 September 2005

2. the Greek words - typos = “form”, grapho = “write” the art and technique of selecting and arranging type styles, point sizes, line lengths, line leading, character spacing, and word spacing for typeset applications. the presentation of text in a manner that is not only easy to read but also visually engaging what is typography?

3. German metal-worker inventor of movable type Johannes Gutenberg (1398 –1468)

4. Gutenberg Bibles. February 23, 1455

5. Black Letter Roman Old Style Transitional Modern Egyptian Sans Serif classifications of type

6. classifications of type – black letter

7. classifications of type - roman

8. classifications of Type – old style a style of Roman letter less thick and thin contrast typefaces: Garamond (1530), Caslon (1734), Palatino (1948)

9. classifications of Type – transitional new letterform was developed in 1702 – 1737 intermediate between Old Style and Modern greater contrast between capital and lowercase letters typefaces: Baskerville, Century Schoolbook

10. classifications of Type – modern it was introduced in France in 1784 extreme thick and thin contrast, no bracketed serifs typefaces: Bondoni (1787)

11. classifications of Type – egyptian/slab serif squared-off serifs were introduced reflected the rigidness of ancient Egyptian hieroglyphics typefaces: Rockwell (1933), Geometric Slabserif

12. classifications of Type – sans serif without the thick and thin line variations without ornamentation extreme thick and thin contrast, no bracketed serifs typefaces: Futura (1927), Helvetica (1957), Univers

14. Timeline

18. a period of bauhaus (1919 – 1933) established in German in 1919 WWI 1914 - 1918 founded by Walter Gropius form follows function to unify art, craft, and technology architecture, furniture design, typography, graphic design

19. Laszlo Moholy-Nagy (1895 – 1946) “Typography is a tool of communication. It must be communication in its most intense form. The emphasis must be on absolute clarity...Legibility – communication must never be impaired by an a priori esthetics. Letters must never be forced into a preconceived framework…We want to create a new language of typography whose elasticity, variability and freshness of typographical composition”

21. Herbert Bayer (1900-1985) omitted capital letters in 1925 experimented with flush-left, ragged-right design universal type to maximize legibility extreme contrasts of type size and weight bars, rules, points and squares were used

23. Jan Tschichold (1902–1974) issued 24-page of “elementare typographie” in 1925 demonstrated asymmetrical typography the aim of typographic work delivers a message in the shortest and most efficient manner type should be placed in motion rather than at rest type should be elementary in pure form w/o ornament (such as Sans Serif)

27. Eric Gill (1882–1940) Gill Sans designer inspired by Edward Johnston’s alphabet typefaces designed in 1928 - 1930

29. Paul Renner (1878-1956) Futura designer inspired by Bayer’s universal alphabet typefaces designed in 1927

30. Union Pacific Railroad

31. Herb Lubalin (1918 - 1981) space and surface characters as both visual form and message communication letterforms became images, images became letterforms making type talk phototypography

37. the anatomy of type

38. Upper & Lower case Numbers : 0 – 9 Punctuation marks Special Characters: $,…

39. Ascender Descender X – height Baseline Serif Stem Counter

43. Point and Pica 6 picas = 1 inch 12 points = 1 pica 72 points = 1 inch

45. leading

46. kerning

50. alignment

51. emphasis: a block of text

52. hierarchy

53. horizontal & vertical scaling

54. type and visual

66. david carson