The tab, scroll and swipe of the book designer

the tab/scroll/swipe of the book designer

Not only Ruder but also reading Hochuli is very recommendable.


I think I am a scroll person. Mehr lesen »

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Bauhaus, but not in Bauhaus

Certainly Bauhaus and Avantgarde are the most common cases of LtypI (Lacking typographic Imagination aka choosing a font because of it’s name for an application of that name).

ITC Bauhausstraße 2

It might disappoint you vastly but the initial Bauhaus manifest 1919 and most of their printed matter in early years were set in art-nouveau flavoured seriffed faces, in the case below Ohio by Schriftguss AG/Brüder Butter. Back then one had to content oneself with the fonts a printer had in stock.

Bauhaus Weimar 1919

Later the typefaces chosen better complied with the ideas of the New Typography:
a clear, modern, industrial atmosphere achieved with anonymously designed, rather dark Grotesque faces — stripped of all unneccessary decorative elements.
A font often used f.e. was Breite Halbfette Grotesk by Schelter & Giesecke, recently revived as FF Bau by Christian Schwartz. Others were Ideal-Grotesk and Venus, recycled in Monotype Grotesque.

Grotesk breit hfett Grotesk breit mager vor 1900

above: Breite Halbfette Grotesk by Schelter & Gieseke ca. 1895
below: Ideal-Grotesk by Weisert ca. 1905 and Venus by Bauer 190
7

Ideal-Grotesk SeemannVenus hfett 1907

But the typographic ideas of the Bauhaus, above all Herbert Bayer and Joost Schmidt, went further. The radical constructivist designs we now immediately connect with “Bauhaus” however were only carried out in drafts, drawings and lettering, never in a typeface.
Paul Renners Futura was clearly inspired by the concepts of the Bauhaus (see alternative letters) but came out not earlier than 1928. Then however it was accepted as the “type of our time”.

futura1927

The typeface ITC Bauhaus is a design from 1975 by Ed Benguiat and Victor Caruso inspired by the ideas of Bayer, Schmidt et al, but it is not a revival of any Bauhaus design.

So, what typefaces should we choose to be more imaginative?

Typefaces like the ones used by the Bauhaus: for example
FF Bau, VenusMonotype GrotesqueBasic CommercialGothic 726ARS Region

Geometric, contructivist typefaces based on the design ideas of the Bauhaus:
AlbersBayer UniversalJoostErbarFuturaDessauNeuzeitNobelSuper and more Futura alternatives like Avenir, Faricy, Superla, Twentieth Century.

Also check out this Bauhaus-fontlist at FontShop.


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The Difference between Humanist, Transitional and Modern Typefaces

Some key-characters for classifying typefaces are a, e, and R.

Humanist (Serifs, Sans, Slab) a’s mostly have an open upper counter and a rather small bowl; the lower half of the e has an open, friendly »mouth«, whereas the eye in the upper half is usually small. R has a diagonal, often long, maybe swashy tail. The uppercase letters are all of different widths, following the proportions of inscriptional Imperial Roman capitals (Capitalis Monumentalis).
If the typeface has contrast the stroke is likely to be thickest north-east and south-west (rotational symmetric, you can draw a diagonal line trough the thinnest parts). In the venetian subclass the e has a diagonal crossbar.
If the typeface has serifs they are bracketed and often asymmetric.

Transitional typefaces have more regular forms. The a and e are rather open, but in general the letters are not as lively and divers as in a humanist face. R has a diagonal tail, the widths of the uppercase are more equal. Stroke contrast is mostly symmetrical to a vertical axis. Serifs are bracketed and also more symmetrical. These typefaces stand inbetween Humanist and Modern, hence the name.

Modern typefaces, like Didones but also Grotesques have rather closed forms of e and a. Caps are of the same widths and more narrow, also the lowercase letters look comparatively alike (b, d, p, q). The R has a more vertical leg ((here my knowledge of the proper english terms are leaving me)). The stroke contrast is extremely high with a vertical axis.
In the Didone style serifs are very thin and not bracketed. There is a subclass with bracketed serifs, like Century for instance, for which we are all still looking for a good name.

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Werde Lehrer für Typografie und Schriftentwurf

Die Staatliche Akademie der Bildenden Künste Stuttgart hat eine tolle Stelle ausgeschrieben. Aber die Bezahlung ist so bescheiden, ich bezweifle, dass sie dafür viele Bewerbungen von Koryphäen der Schriftwelt erwarten können.

Mehr lesen »

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Zwiebelfisch

Zwiebelfisch

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noch mal Helvetica

Funny, while browsing some reviews of Helvetica forever I found this one on Designboom, which is featuring almost only my tiny little article on typesetting methods. Five pictures of one spread*, a boring side note in a thrilling story. Must have made an impression.
No pic of the historic essay, none of the comparisons, only one of the Hoffmann-booklet …

Buried deep down on this blog you can find some posts from the time I was working on the book. And maybe one day I will write about the making of and the contributers involved.

*Originally I had one page per technique but it got halved and halved further during the process. Understandable. Could be a book on it’s own.


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Have I told you recently, that I love Lars Müller Publishers?

Lars Müller is back better than ever. And independent again.
Not only went my “best type book of the year” to Corporate Diversity. Advertising by Geigy, I also very much love the Celestino Piatti and Unimark book, to name but a few.

Check out their new website (and order Helvetica forever extensively! :)


read on: my report fresh from Frankfurt book fair from 10/09

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Typostammtisch am Freitag, 5. Februar

update:

Es war wiedermal ein rauschendes Fest mit Euch. Bilder gibt es in unserer Typostammtisch-Flickr-Gruppe (danke Frank).

fuer_fuenf_tische_reservieren*
Typostammtisch Mosel–Saar–Ruwer am Freitag, den 5. Februar 2010 um 19:30 im Kafé Costbar, Nauwieser Str. 19 in Saarbrücken. Frank Kiosk-Fonts Grießhammer kommt extra und live aus Den Haag. Löchert ihn mit Frage (nach einem Erfrischungsgetränk, er hat einen harten Arbeitstag hinter sich).

((* Danke an Patrick, Visualisierer de luxe, amasius fungus und prima Typ))

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Ein Schriftfächer-Klassifikations-Musterbuch

Ende letzten Jahres wurde ein neuer Schriftfächer von seinen Autoren auf typografie.info vorgestellt. Thomas Kunz hat nun dankenswerterweise eine Liste der vorgestellten Schriften veröffentlich.

facher

So viele verschiedene Gruppen sehen in bunt toll aus. Aber die Einteilung finde ich nicht in allen Punkten toll, die ersten beiden Bezeichnungen eher unglücklich gewählt. »Schriften vor Gutenberg« sind natürlich zeitgenössische Interpretationen wie z.B. Carolina, Duc de Berry uws. Aber warum dann nicht auch Ondine? Diese steckt bei den Breitfeder-Schriften.

Anstatt des Begriffs »gotisierende Schriften« fände ich »gebrochene Schriften« weniger missverständlich, vor allem, da sich so bizarr klingende Unterkategorien wie gotisierende Renaissance-Schriften und gotisierende gotische Schriften ergeben.

Auch bei den einfacher benannten Gruppen würde ich einiges anders zuordnen, Mehr lesen »

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Who is Gando?

Anyone in need of a topic for a typeface revival?

Today in the mail: a type card by Eckehart SchumacherGebler featuring a rare Didone (together with a real one, the ”Pierre Didot“ by him and Vilbert).

The Roman and Italic was acquired by Offizin Haag-Drugulin of Leipzig in 1868 from the tradition-rich printer Tauchnitz, who winded up their in-house type-foundry by then. They were kept under the name “Französische Schriften” (French Typefaces).
In 1919 the matrices made their way to D. Stempel foundry, who renamed the typeface “Didot”. Just recently SchumacherGebler was able to discover, that the face does not originate from Didot, but from the Parisian punchcutter Nicholas Pierre Gando. Unfortunately it is not available anymore.

gando

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