Summary
Typography has been in a state of continuous evolution since the days of the very first print by Gutenberg, and is still continuing to change in the present day. How we have displayed and applied words in our culture defines who we are. Typographers such as Eric Gill, Edward Johnston (Who designed the type and map for the London Underground network), have all played their part in changing the way we look and use type, the font Helvetica was a revolution within the design world, and today is still a widely recognized typeface. In the film “Helvetica”, you can see that the typeface is used on all sorts of visuals. It is a typeface that is there and we do not even know it, we see it all the time and don’t even consider what it is we look at. “There it is, and it just sort of seems to come from nowhere, you know it seems like air, it seems like gravity” (Helvetica, 2007).
“If we were to consider the normal, everyday activities that consume our lives, it would quickly become apparent that typography is ubiquitous and inescapable”. (Jury, D).
The techniques used to produce and print type has changed so much. Beginning in the days when Johannes Gutenberg created the first known printing press for book publishing. He was the first to use movable type printing. There was a dramatic change in printing in the late 19th and early 20th Centuries, machines such as the Empire Composing Machine, the first typesetting machine to be manufactured for common use. A three keyboard, corresponding to three type cases above, released individual type through converging channels to form a line. Other printing presses that spawned in this era were the Rogers Typograph. This used a set of matrices (master type characters) that slid into position when the keys were pressed and were automatically justified. The Blower Linotype pressed molten metal into indented matrices to cast one “lone o’ type” at a time. The other two techniques along with Linotype were Monotype and Intertype (still used today but no longer as mass production due). Also in the early 1900’s, designers used to use pencils, rulers, French curves and paint brushes. This was considered an art form, type had a personal touch about it, and this gave it value to the designer. The German theorist, sociologist and philosopher, indicates in his “theory of value” that “use value” has usefulness to the designer.
“Use value is a purely subjective thing, an abstraction that can exist quantitatively only in the mind of the user or prospective user of the thing, and then only as a plus or minus quantity relative to the similarly realized use value of some other thing.” (Marx, K).
The revolution in printing text was bulk printing with big, monstrous printing machines. Letterpress printing became the next big thing, text could be printed in mass production and was much quicker to produce than by hand, this was a much more efficient way of printing.
There is so much to learn about typography, from the font size, leading, serifs and sans serifs even the typeface we use, each and every process in type has to be carefully thought out and planned, basically what is type and what should it do. So much planning has to go into the layout of a font. How straight must a line be? How big a curve is? Time has to be taken when spacing an individual letter.
“In bad lettering, there is a lack of relationship between letters that comes when shapes oppose on another rather than lying in unison, when a few letters disturb the rhythm of the group, rather than acting as accord as blades of grass lean together in response to a gust of wind”. (Haley, A).
In the mid 1980’s the age of digital typography grew and grew. Digital fonts are easily adjusted and manipulated in any way we want, this makes it simpler to set them for print. Years ago type had to be set individually, using blocks to be set into place, then printed using the machines of the time. Now all we have to do is adjust the correct printer settings on the laser jet. Even today type is changing, the way in which we apply it may already be dying. Books may one day be replaced by the invention of the eBook; no longer may it be printed but simply downloaded, and this could be taken further where the public would be able to downloads magazines and newspapers. Even with the growth in 3D technology, could this be taken further and we see 3D type used for advertising? This is a latest craze in film production. Films such as Avatar, Clash of the Titans and many more have released using this technology and it has been from personal observation that the only thing that is really 3D about them is the type used for the title sequences and credits. Companies such as windows and apple have created tablets and computer tables that we can interact with by using their touch screen technology. Typography is a learnt expertise, even though it is easily accessible for anyone to go online and create their very own fonts, it is still today a specialized subject. It is extremely difficult to produce perfectly sized lines and curves in the typeface. The correct spacing between each individual characteristic is carefully planned and created.
“Type is saying things to use all the time, typefaces express a mood, an atmosphere. They give words a certain colouring. (Helvetica, 2007).
The Internet has also changed the world of type. Now we can upload our own designs on free font websites such as DaFont, BeauFonts, What the font etc, all for anyone to download and use. And with programs like Illustrator, Fontographer, anyone can easily design and produce a font. It is of little surprise therefore that we may soon even see the creation of apps for creating fonts. One such app is FontStruct by FontShop.
There is now even a radio show where typographers and designers are invited to discuss their techniques of using type, as well as what projects they are currently working on at that moment. They also discuss other designer’s work. This show goes into detail of how the world looks and uses type. It is suiting that this show is called Type Radio, and the pod casts are available on iTunes or on the actual website, TypeRadio.org. Designers that have appeared on this show are Stephan Sagmeister, Veroninika Burian to name but two.
“Type is speech on paper, Typeradio is speech on type. Typeradio, the radio channel on type and design.” (ITunes pod cast description).
The fact that we can now design and talk about type on the net and radio just shows that the days of printing could nearly be over. Printing is becoming more expensive to do. A good example of this is the closure of the publishing company DC Thomson’s & Co. This is only their warehouse that has closed due to the high cost of owning printing equipment, having to repair them and to keep the machines running 24 hours a day. Now they print through another company outside Dundee.
It is also because of the Internet that more and more people are finding out news and information online. This is cheaper. This also shows that printing is becoming irrelevant. There has always been more readers than content makers, but the more people there are the more printers have to produce which costs more, meaning that new, updated techniques of printing are more in demand, such as a digital process.
“Type started out as chunks of metal and wood. Today, it’s anybody’s guess as to whether the computer font we design actually exists at all”. (Cabarga, L).
Already we are seeing touch screen technology being produced such as the iPad, it should not be long now until the availability of touch screen computers in our homes. In cities like Manchester and London, the public can use touch screen on bus stops to find out the schedules etc. and because of this it shouldn’t be too long before this is easily accessible for everyone to use. The question is how will this affect published words? Will it die out or put up a fight and overcome touch screen? In a talk given by Tim Waterstone, the owner of Waterstones book specialists held up an ebook saying that this will never outdo this, now holding up an actual book.
It is also important to know how to use type. Many fonts are used for certain and various designs. When looking at a site comicsanscriminal.com, the designer of this page argues that the typeface comic sans is overused and used in the wrong context. Using type should be carefully planned and applied during appropriate situations.
“You see originally…Comic Sans was made for the little comic book style help speech bubbles in programs like Microsoft Word. However…it quickly became popular for use with young children in primary schools & other childcare thanks to its fun, child-like appearance. Not long afterwards…Hospitals, offices, churches, restaurants, newsagents, police stations, doctors surgeries, supermarkets, chemists, bars & pubs, universities, buses, hairdressers, off licenses, cafes, health organizations, ambulances, were printing serious information on posters, signs and newsletters in this comical font”
Chapter Synopsis
Introduction: The introduction will give a description of what it is I want to answer in my question. This will include my aims and objectives, what is it I intend to do in my dissertation? I will also write of how I intend to tackle a few areas, explaining what techniques I have will have used to research and debate my dissertation.
Chapter 1: This chapter will be a history of the discipline of typography; will look at past typographers and designers that have influenced the print, use and layout of typefaces. This will be good to look at designers that created “revolutionary” typefaces for the time that are still well use today.
Chapter 2: I intend to look at various printing techniques here. From the letterpress, linotype, monotype to laser print. What technology was available at the time? How effective were they? Were certain machines only made to produce certain items? A subchapter will be how easily accessible it is for non-designers to upload typefaces onto the Internet.
Chapter 3: This part of the dissertation will detail the technology that changed the use and availability of typefaces and print. Will break this into two parts. First will be of the software used to design and create typefaces and the second being that of the technology now used to print them. Will include a section that compares typefaces to type display. Will go into more detail of what this is in the actual dissertation.
Chapter 4: It is important to get the opinions from the experts. The only way to do this will be to simply just ask. The next chapter will be the results of the questions I intend to ask agencies and type foundries. Will break the results down into the companies I surveyed with another subchapter of how well I thought this was.
Chapter 5: As said in my objectives, I intend to experiment various techniques in designing and printing a typeface. For this I will obtain materials used to create type shapes. I will also book into the university printing studio or the DCA to print such designs. I also intend to create the same typeface on the software available to me. This chapter aims to note and compare the experiments I will undertake.
Chapter 6: For this chapter I will look into why is it important to understand typography? What makes a designer different from anyone else? What is the importance of applying fonts to various situations? There are typefaces that should only be used under certain circumstances and I aim to look into where and when they should be used. This will include a number of typefaces that are relevant to this question.
Chapter 7: The conclusion will be a summary of my dissertation, and personal notes of what I think typography is, where it is going, and how I would to benefit from this.
Proposed Timetable
The timetable I intend to use for research and preparation of my dissertation.
May:
1st – 15th
Research will be truly underway. I have already purchased a number of the books listed in my bibliography as well as downloaded useful videos, podcasts and interviews. My notebook will have notes on past printing techniques and materials used for designing typefaces. I intend to at the minimum dedicate at least an hour a night during the week to accomplish this. During the first week will research design and printing agencies to contact for comparing questions. All the way through my research I will be reading and analysis text, noting it all down in my notebook.
16th -31st
Will continue research into my chosen subject looking into technology used for both past a present printing techniques. Also aim to create my proposed questions to the agencies. If successful in agency response, hope to have at least one question report completed at this time.
June:
1st – 15th
Continuing research, will have read at least a chapter of the majority of my bibliography, some of these will have been articles from the web. In notebook will also include images relevant to my topic.
16th – 30th
Again will continue research. Will dedicate at least 8 hours a week into relevant materials. I also intend to have carried out my experiment of creating a typeface, both by hand and digitally.
July:
1st – 15th
Research continues. Once I have completed the design of the typeface the next experiment during this stage will be to print them. Will book a time for an introduction to screen printing at either the DCA or DOJ university studio as soon as I can. Hopefully by the end of these weeks I will have completed this. Will also have printed the font out digitally.
16th – 31st
Continue with research. Before I begin the first draft of my dissertation I will compare my notes and research during this period to get a better understanding of my results.
August:
1st – 15th
Will begin writing the first draft of my dissertation. Will attempt to have at least a chapter competed a week. Some weeks I will complete two chapters.
16th -31st
Complete the first draft of proposal. Intend to have the first draft completed by the end of the month, this will give me time to have sent it away to be proof read before handing in to be approved by dissertation tutor.
September:
1st – 15th
Will look over first draft before submitting.
16th – 30th
As soon as I am given feedback on my first draft will correct and change all that is required and will add more thoughts and results to the 2nd draft.
October:
1st – 15th
Will continue with editing the next draft of dissertation. Aim to have this completed by the 15th at the latest.
16th – 31st
Will email next draft to be reviewed before emailing to tutor. Once feedback is returned will edit draft further. Once edited will send away to be reviewed again.
November:
1st – 15th
Intend to by some point between these dates to have edited, saved and printed before hand in away dissertation away for printing. Also during this period will again read over to make sure there is nothing else to add or edit.
16th November – 7th December
Everything will have been finished and finally handed in for submission.
Aims
My aim for this is to gain a greater knowledge and understanding of what typography is. I want to know more about the history of type. I believe that knowing more about it will help me in my future career. I enjoy typography and hope to leave university to make this my main area of expertise. To do a dissertation on a subject I feel I can produce a strong piece of work and would enjoy researching.
Objectives
What I hope to finally produce for my dissertation is a brief history of typography, a review of how designers adapted and continue to adapt the use of digital technology. A review of the technology now available for purchase and how these can further develop type beyond what we already know. I aim to contact printing companies and ask a general discussion on how they used to print, compared to how they print today. I will speak to agencies as well as type foundries for this. I will experiment using comparing various techniques. This will involve painting letters from hand, carving letters from wood and printing them on papers and finally creating a font digitally.
Keywords
Typography, fonts, technology, software, advertising, printing, typographer, publishing.
Extended Bibliography
Aymer, G., 2009. Is This the Golden Age of Typography? Discuss…. Computer Arts, 168, pp. 58-61.
An article that debates the ongoing battle between digital and printed typography, through its history, to the present and where type could eventually be heading. Throughout this article are the opinions expressed by various designers.
Baines, P, and Haslam, A., 2002. Type and Typography, London, Laurence King Publishing Ltd.
Type and Typography looks into the fundamentals of typography, such as structure, layout and meaning behind the design of a font. This also looks into the history of type as well as the process used to produce type.
Barnbrook, J., 2007. Barnbrook Bible: The Graphic Design of Jonathan Barnbrook, United Kingdom, Room for Living Publishing.
A collection of work throughout Barnbrook’s career. This book contains various fonts created by the designer as well as exhibition, and promotional pieces.
Bellantoni, J., 1999. Type in Motion: Innovations in Digital Graphics, London, Thames and Hudson.
Unlike any of the other books I have looked at this one includes various projects in print, digital and interactive design. It looks into how we look and interact with not just words but design in the modern age.
Brody, N.,1988. The Graphic Language of Neville Brody, London, Thames and Hudson.
Neville Brody provides and detailed account to his period in the area of graphic design. This also acts a history of design as well as being an influential piece fro designers today.
Cabarga, L., 2004. Logo Font & Lettering Bible, Cincinnati, HOW Design Books.
Here the author, a designer reminiscing the old fashioned days of creating and producing type. This looks into old techniques of creating and printing fonts as well as today’s more updated digital techniques. This book also looks at various style of type used in logo design.
Carson, P., 1999. Back to the Old School, Creative Review, 19(5), pp. 41-4.
The author of this article discusses the decline in the traditional printing forms of typography such as the letterpress and the rise of computer technology. This goes on to compare the different techniques and how each feels and are experienced.
Dempsey, M., 2010. Comic Sans Criminal. [Online] Available at: http://comicsanscriminal.com/ [Accessed 15th April 2011].
A design student created this site during his 2nd year at University. It looks into how the font Comic Sans is over used and used under pointless circumstances. This is solely aimed at the font Comic Sans but the author is expressing that this is the same for all typefaces.
Drate, S., 1999. Extreme Fonts: Digital faces of the Future, New York, N.Y., Madison Square Press.
Here is a collection of various type designer’s work, each designer goes into detail of how they came up with the design as well as the process they went through in their designs.
Fawcett-Tang, R, and Jury, D., 2007. New Typography Design, London, Laurence King Publishing Ltd.
This is not a book of the history or opinions on type, but is a visual guide of the best work in modern typography throughout the world. This looks into how it is applied as well as trends of the current time.
Gale,N., 2002. Type 1: Digital Typeface Design, London, Laurence King Publishing Ltd.
A book that looks solely into the area of digital typefaces, from applications on computer software to type on the internet, although a bit dated is still relevant into how digital fonts are still important on the computer now just as much as they were first applied to this.
Gill, B., 2009. Words into Pictures, Images Publishing Group.
Bob Gill’s book is about the relationship of words and pictures in how we communicate. He notes down his own thoughts of how words and pictures can be combined together to make strong and powerful statements.
Harvey, M., 2009. Janet the Typeface: From Metal to Digital, Matrix, 28, pp. i-iv.
This article is describing the origins of the Janet font, of how creator designed it, and how years later, his son, with collaboration with Andras Benedik, took this font and made it a digital typeface.
Helvetica., 2007. [DVD] United States: Gary Hustwit.
This video includes various interviews from typographers around the world on the font Helvetica. It includes the history of the font as well as the impact it has had within the design world.
Jury, D., 2006. What is Typography?, Switzerland, RotoVision SA.
Unlike the other books chosen this book includes chapters on what typography is, how it type used to be printed and how it is printed today. It also looks into how type is applied within our culture. This also includes the facts on how to work with type as a designer.
Kinross, R., 1992. The Digital Wave, Eye, 2(7), pp. 26-39.
A review of the way in which digital technology changed the way in which typographer’s design and work with type type. This delves into how much of a revolution the digital era was.
McLean, R., 1980. The Thames and Hudson Manual of Typography, London. Thames and Hudson Ltd.
This looks into the history of typography, looking at past typographers who created groundbreaking fonts, as well as looking into how font works and is created.
Pearson, D., 2010. Special Collections in a Digital Future. Art Liberties, 35(1), pp.12-17.
This is an abstract from a paper at the 2009 ARLIS Conference ‘Tradition and Transformation: Roles in a Changing World”. This looks into the library content and how books could be recorded electronically rather than being printed.
Sagmeister, S. 2008. Things I have Learnt in my Life so Far, Abrams Books.
This is a self-publication of a list of experiences Sagmeister has learnt throughout his life. All the experiences are presented in a number of brochures that he has created using 3D typography, promotional work.
Sassoon, R., 2002. Computers and Typography 2, Bristol, Intellect Books.
This includes a number of essays from designers on the area of typography design on the computer. Each article gives opinions on the use of typography on computers.
Spencer, H., 1969. Pioneers of Modern Typography, London, Lund Humphries Publishers Ltd.
An older book that I still found useful. The author researches the typographers who all left their mark in the typographic world. This looks into how they designers fonts and how they were applied.
Staples, L., 2000. Typography and the Screen: A Technical Chronology of Digital Typography, 1984-1997, Design Issues, 16(3), pp. 19-34.
The author in this article is looking at the technical developments that happened for digital technology and typography during the 1980’s and 90’s. This looks into the impact it had as well as the changes that came with it.
Type Radio, 2011. Jo De Baerdemaeker (January 2011) Part 1 of 2. [podcast] January 2011. Available at: http://www.typeradio.org/loudblog/index.php?page=0 [Accessed 4 March 2011].
Typeradio.org is a website that allows a user to download and listen podcasts of interviews with various typographers and designers. This particular podcast features the Belgian type designer Jo De Baerdemaeker, where he discusses upcoming designs he is working on as well as expressing his views and passion for type.
Warde, B., 1956. The Crystal Goblet or Printing Should be Invisible. [Online]. Available at <http://gmunch.home.pipeline.com/typo-L/misc/ward.html> [Accessed at 27 February 2011].
This article looks explores the authors views on typography, how type should be something that is carefully planned, and enjoyed. The experience of type is experimented with a goblet of wine, comparing amateurs to professionals.
Willen, B., 1981. Lettering &Type: Creating Letters and Designing Typefaces. New York, Princeton Architectural Press.
Lettering and Type shows examples of various forms of lettering applications on various designs, it also gives examples of how to apply text in a creative process.
