Saturday, November 27, 2010
Wednesday, November 17, 2010
1. Giacomo Balla
2. Franz Marc
3. Jan Kallwejt
4. Michael Craig Sieben
5. Jean Giraud (Moebius)
6. Stephen Gammell
1. Jean Giraud (Moebius)
I chose Moebius because I have a fascination and adoration with his use of line. All of his works exhibit masterfully designed forms through use of line work. I felt that I can create a enticing drop cap in this way.
Jean Henri Gaston Giraud (born May 8, 1938) is a French comics artist. Giraud has earned worldwide fame, not only under his own name but also under the pseudonym Moebius, and to a lesser extent Gir, the latter appearing mostly in the form of a boxed signature at the bottom of the artist's paintings, for instance the volumes' covers.
2. Stephen Gammell
Stephen's work haunted my childhood through reading the 'Scary Stories' series he illustrates. With that said, I thoroughly enjoy his work. His use of contrast and grotesque forms is fascinating.
(b. February 10, 1943) is an American illustrator of children's books. Stephen Gammell grew up in Iowa His father, an art editor for a major magazine, brought home periodicals that gave Stephen early artistic inspiration. His parents also supplied him with lots of pencils, paper, and encouragement. He is self-taught.
He started his career with commercial freelance work, but became interested in children's book illustration. His first book, A Nutty Business, was published in 1973. Since then, he has illustrated over fifty titles.
He is particularly well-known for the surreal, unsettling illustrations he provided for Alvin Schwartz's Scary Stories to Tell in the Dark series of horror short stories, still a favorite in adolescent fiction.
3. Jan Kallwejt
Jan Kallwejt features high energy, graphic work. This style is very refreshing and is a great contrast to the other two artists I have chosen.
Jan Feliks Kallwejt is freelance graphic designer and illustrator currently based in Malaga and Warsaw. He co-operates with clients from several European countries and North America. For six years he has worked with agencies in Warsaw and Hamburg. Currently, Jan focuses on illustration, apparel design and personal art projects.
An illumination is an embellishment, or additional decoration that enhances the pages of a written manuscript page.
The term Illumination comes from the term Illuminate, or to fill with light. This effect is achieved with the application of gold leaf to the letters and images, which reflect light and appear to glow.
An illuminated letter was usually the first letter of a page or paragraph. It was always enlarged and in color with gold applied in areas, while the rest of the text remained black. The images used to enhance the letter include animals, plants, and mythological creatures. These images were modified to fit into or around the letter, or in some cases took the shape of the letter itself. Because the recording of historical events was such an important task, illuminations were ordered by Kings and religious leaders to be added to various pages in order to add interest and importance to their appearance.
The Egyptians were the first culture known to document events by use of Illuminated Manuscripts. One of the most famous being the Book Of The Dead, which dates back to 1310 B.C.
As written languages developed, various countries adopted the idea of illuminating their manuscripts and carried on the tradition for hundreds of years into the Medieval Europe and during the Middle Ages.
By the 7th Century, Illuminations became a highly respected art form. At this time some of the most beautiful and famous illuminations were being created in Ireland and England.
Drop caps are the contemporary version of the illuminated letter. They are characterized by having similar characteristics to illuminated letters, only usually done in a more modern approach.
The first letter of a paragraph that is enlarged to "drop" down two or more lines, as in the next paragraph. Drop caps are often seen at the beginning of novels, where the top of the first letter of the first word lines up with the top of the first sentence and drops down to the four or fifth sentence.
Friday, November 12, 2010
Monday, November 1, 2010
Thursday, October 14, 2010
Monday, October 4, 2010
David Berlow credits his life-long interest in type to a combination of psychology, technology, history and the arts. “The fact that type is a universal requirement for communications and has life after life as each stylistic and technical age goes by, makes it endlessly fascinating to me,” Berlow says.
Born in Boston in 1954, Berlow moved to Wisconsin a year later. He majored in fine arts at the University of Wisconsin-Madison. Although he didn’t have any formal training in drawing letters, exposure to letterpress in school sparked his interest in type.
Berlow's career in the graphic arts began while he was still at the University of Wisconsin. “I was a fine arts major and a friend approached me to draw a logo. I guess he figured ‘drawing was drawing.’ The logo was for a local travel agency, and what I drew turned out to be completely typographic.” Berlow had seemed to become hooked on type from that point on, but this was not the case.
The logo project did, however, open Berlow’s eyes to the world of graphic design. After graduation, he moved to New York and took a job in an advertising agency. It lasted two months. “I learned pretty quickly that the New York agency scene wasn't for me,” he recalls. “I just couldn’t fit in with the structure. I probably also had authority issues.” Berlow knew he had to put together a plan. “I figured I’d spend a few years drawing letters, a few years learning photo editing and then work as the art director for a music magazine like Rolling Stone or SPIN.”
Berlow applied for work at a number of places, including Marvel Comics, a diploma factory and the newly opened drawing office of Mergenthaler Linotype. Linotype made the first offer and Berlow took the job. “The money wasn't great,” he remembers, “but the job was fantastic. I discovered you could actually get paid to draw letters all day long.” He worked there four years, then left to join several of his colleagues at their newly formed company in Cambridge, the digital type foundry Bitstream Inc.
Berlow left Bitstream in 1989 to found The Font Bureau with Roger Black. The independent foundry and design studio quickly gained a reputation for producing high-quality classic types and outspoken but perfectly constructed display faces.
Although known for having a quirky sense of humor, Berlow is attracted to the classics. His retail types at Font Bureau include the sensitive Californian™ Goudy revival and the Bureau Grotesque™ type family, an interpretation of the English nineteenth century sans that’s seen in newspapers and magazines worldwide. Other Berlow faces range from the silent film title stylings of the Meyer Two™ family to the powerful voice of Rhode® typeface, a Figgins-inspired elephantine grotesque design.
In 1995, Agfa Corp. commissioned Berlow to conduct research at the Plantin Moretius Museum in Antwerp, Belgium, and develop a type family exclusive to the Creative Alliance label. The result of Berlow’s exploration was the Throhand® family, an elegant serif in 12 styles with three fine variations in weight.
As with the Throhand brief, Berlow’s motivation for designing a typeface usually comes from listening to the needs of others, whether it’s a corporate client or his own sales team. He constructs a solution to meet customer needs, listens to feedback, and then draws a new family.
“When I start working on something typographic, and I need to follow clue after clue to get into the mind of the designer and the audience for which he worked, that I love,” Berlow says.
Berlow works from his home studio on Martha’s Vineyard, where he’s inspired by nature and keeps grounded in reality by working with his hands. Other Font Bureau staffers often work independently or have flexible hours. It’s a unique arrangement that works. “We don’t have a traditional structured hierarchy, so it’s like we’re all at a round table (electronically), and anyone can say anything,” Berlow says. “In the end, if no one else can make the decision, I will.”
Berlow is currently working on an expansion of the ITC Franklin Gothic™ type family for Monotype Imaging. The popular sans will be upgraded with special display versions and a set of text-specific fonts, including agate versions for extremely small point sizes.
"Monotype Imaging: Type Designer Showcase: David Berlow." Monotype Imaging: Font & Imaging Software: Welcome. Web. 04 Oct. 2010.
"Font Bureau People | David Berlow." The Font Bureau, Inc. Web. 04 Oct. 2010.
"Identifont - David Berlow." Identifont - Identify Fonts by Appearance, Find Fonts by Name. Web. 04 Oct. 2010.
The origin of the Belizio font dates back to the year 1987 when it was designed by David Berlow and released by the Font Bureau in 1987. David Berlow was born in Boston in 1954 and is still alive today, currently working on an expansion of the ITC Franklin Gothic type family for Monotype imaging. The eight-part Belizio series updates the first Font Bureau typefaces. David Berlow's typefaces family is based on Aldo Novarese's Egizio, designed in 1955 for Nebiolo. It was first prompted by the popularity of Haas' Clarendon, designed by Hoffmann and Eidenbenz. This font is an impeccably Swiss revival of the traditional English letterform. Aldo Novarese was among the first to investigate a true italic designed in the Clarendon style. Belizio has a very subtle contrast of stroke, is very rectangular, machine-like, and mono-form. The classification of the Belizio font is slab-serif.
Slab serif is a genre of letterforms that has been in use for almost 200 years.In typography, a slab serif font is also called square serif, mechanistic, or Egyptian. The slab serif typeface is characterized by thick, block-like serifs. Serif terminals may either be round like the Courier font, or blunt and angular like the Rockwell font. Generally having no bracket, slab serif typefaces are considered to be a subset of modern serif typefaces. Because of their bold appearance, they are most commonly used in advertisements and large headlines. Slab Serifs are seldom used in body text. The exception is those that are monospaced, because of their usage in typewriters, but that is declining as electronic publishing becomes even more common. One recent exception is the typeface designed for The Guardian newspaper in the UK. The Guardian uses an Egyptian typeface throughout the paper as body text. As printed material began to branch out from the familiar realm of books, new typefaces were needed for use in posters, flyers, and advertising. Vincent Figgins first commercially introduced the slab serif printing type under the name Antique, with copies dated from 1815 and 1817. Until this time, type was designed for one purpose, to fill long stretches of texts for books. With Mechanisation and major innovations in printing technology (Steam Press of 1814), advertisers in particular were looking for a type that stood out form the crowd. Following Napoleon's Egyptian campaign, an intense cultural fascination with all things Egyptian followed. There was no relationship between Egyptian writing systems and slab serif types, but either shrewd marketing of honest confusion led to slab serif fonts often being called Egyptians. Many early slab serif fonts are named for the subject: Cairo, Karnak, Memphis. The common metonym "Egyptian" is derived from a craze for Egyptian artifacts in Europe and North America in the early nineteenth century. This led typefounders producing Slab Serifs to call their designs Egyptian. The term Egyptian had previously been used to describe sans-serif types in England, so the term 'Antique' was used by British and American typefounders. The term Egyptienne was used by French and German foundries, derived from the original Egyptian name.
There are many sub-classifications of the slab-serif type. The 'authentic' slab serif has unbracketed serifs (an abrupt serif that meets the stem at a 90 degree angle). With that said, there are numerous examples that come with bracketed serifs. The three different subgroups of the slab-serif typeface are Clarendon, Neo-grotesque, and Italienne. The first Clarendon was introduced in 1845 by R. Besley & Co as a general purpose bold face for use in conjunction with other serif text faces in works such as dictionaries. In some respects, it can be regarded as a refined version of the Egyptian style and as such can be used for text settings. Headline and display work is more usual for the Clarendon model, however. This particular model has seen many revivals, especially during the 1950s and 1980s. The Clarendon model is unlike any other slab serif in that is actually has some bracketing and some contrast in size in the actual serif. As an attempt to reign in some of the extravagances of the Fat Face display types, Clarendon can be used as a fit for text faces. The contrast was reduced, the serifs thinned, and the x-height was increased for legibility at the smaller sizes. Some examples of the Clarendon model are Clarendon and Egyptienne. The neo-grotesque model is the most common of the slab serif typefaces. Neo-grotesque have no bracketing and evenly weighted stems and serifs. The letterforms are similar to realist sans-serif fonts and examples include Rockwell and Memphis. The Italienne model the serifs are even heavier than the stems, this creates a dramatic, attention-drawing effect. Some Italienne slab serifs, such as Playbill, have a characteristic Western appearance. This is likely a result of their frequent use in western-era posters. There are also typewriter typefaces, which are named for their use in strike-on typewriting. These faces originated in monospaced format with fixed-width. This meant that every character takes up exactly the same amount of horizontal space. This feature is necessary based on the nature of the typewriter apparatus. Examples of this monospaced format include Courier, Courier New, and Prestige Elite (Clarendon model), and ITC American Typewriter. ITC American typewriter is a typeface immortalized in Milton Glaser's I 'Heart' New York logo. In addition to those typeface classifications, there are also the Geometric slab serifs that look like the early Sans Serif types only with the serifs broken off. Most of the slab serifs available today are digitized versions of very old typefaces. The Archer font form H&FJ is considered one of the best slab serifs for setting extended text. It comes in numerous weights, look sleek, and has an excellent italic accompaniment. A new wave of slab serifs hit the typographic world during the 1930s. These letterforms follow a "constructed" principle. These fonts are called "Standard-Bearers". The groundwork for this type of slab serif was laid in Frankfurt, Germany. Rudolf Wolf designed the Memphis typeface at the D. Stempel AG foundry in 1929.
Belizio is not a very well known font, and is very. But, it comes from a type classification rich in history and usage: The Slab Serif.
Cheng, Karen. Designing Type. New Haven, CT: Yale UP, 2006. Print.
Annand, Carolyn, Philip B. Meggs, Roy McKelvey, and Ben Day. Revival of the Fittest: Digital Versions of Classic Typefaces. New York: RC Publications, 2000. Print.
Blackwell, Lewis, and Lewis Blackwell. 20th-century Type. New Haven, CT: Yale UP, 2004. Print.
"Belizio « [LAUREN SCHIMMING]." [LAUREN SCHIMMING]. Web. 04 Oct. 2010.
"Slab Serifs - Linotype Font Feature." Download Fonts from Classic to Cool - Linotype.com. Web. 04 Oct. 2010.
Wednesday, September 29, 2010
Examples: Palatino, Sabon, Centaur, Garamond.
Transitional- A transition between renaissance old style and modern typefaces. It has a tall x-height, medium contrast between thick and thin strokes, less left-inclined stress than earlier Old Style faces. It also has a triangular flat tip where diagonal strokes meet.
Examples: Baskerville, Times New Roman, Bell, Perpetua, Caslon.
Modern- High contrast between thick and thin strokes and flat serifs. Later variations include slab serifs with bolder serifs. Harder to read than previous and later typestyles. Developed in the late 18th century.
Examples: Bodoni, Didot, Bernhard Modern Roman, Walbaum, Bauer Bodoni.
Slab Serif- Evolved from the Modern style. Square, larger, and bolder than serifs of previous typstyles. Further divided into Clarendon, Typwriter, and Slab Serif.
Examples: Clarendon, American Typewriter, Rockwell, Belizio, Serifa.
Sans Serif- Does not have serifs. Extra strokes at the end of main vertical and horizontal strokes of some letterforms are called sans serif (without serif). Five main classifications: Grotesque, Neo-Grotesque, Geometric, Humanist, and Informal.
Examples: Arial, Helvetica, Verdana, Futura, Univers.
Script- Similar to cursive letters, this typeface is based on fluid handwritten strokes.
Examples: Brush Script, Casual Script, Handwriting, English Roundhand, Rationalized Script.
Blackletter- Based on early written forms. Features elaborate thick to thin strokes and serifs. A solution to making text as visually interesting as the complex illustrations surrounding it.
Examples: Schwabacher, Textura, Rotunda, Fraktur, Old English.
Grunge- Use special effects to create a synthetic or organic texture on the typeface.
Examples: Graffiti, Stencil, Almanach, Addlethorpe, Alta.
Monospaced- A typeface where all characters have the exact same width.
Examples: Typewriter, Arete Mono, Chunkfeeder, Chainprinter, Arial.
Undeclared- a mixture of all types of fonts.
Examples: Copperplate Gothic, Optima, Gotham, Fixedsys, Cooper Black.
- Designed by David Berlow and released by the Font Bureau in 1987.
-Roman, Italics, Bold, Bold Italic, Black, Black Italic.
Sunday, September 19, 2010
Friday, September 3, 2010
Wednesday, August 25, 2010
2. Designers use a grid because it allows the designer to solve problems in a coherent and systematic way. It allows designers to lay out an enormous amount of information in less time because of the grid's structure. The benefits of working with a grid are simple: clarity, efficiency, continuity, and efficiancy .
3. Modular Grid- grid that subdivides each section into an individual unit, or module. When repeated, these units create units and rows.
4. Margins- negative spaces between the format edge and the content, which surround and define the live area where type and images will be arranged. The proportions of the margins bear some consideration, as they help establish the overall tension within the composition. Margins can be used to focus attention serve as a resting place for the eye, or act as an area for subordinate information.
5. Columns- are vertical alignments of type that create horizontal divisions between the margins. There can be any number of columns; sometimes they are all the same width, and sometimes they are different widths, corresponding to specific kinds of information.
6. Grid Modules- modules are individual units of space separated by regular intervals that, when repeated across the page format, create columns and rows to form the grid structure.
7. Flow lines- are alignments that break the space into horizontal bands. Flowlines help guide the eye across the format and can be used to impose additional stopping and starting points for text or images.
8. Gutter- are the white spaces between two pages of a book, or more generally, between columns of text, boxes, or comic panels.
9. Hierarchy- An order that is based on the level of importance the designer assigns to each part of the text.
10. Typographic color- changing the scale relationships or their visual darkness or weight of certain elements. Deals with changes of lightness, darkness or value.
11. Ways to determine a clear hierarchy include using typographic color. The designer must determine what elements are advancing visually, and which elements are receding. There must be a clear contrast between what is important, and what information is subordinate.