Typography

1. Typography History of Typography Part 3

2. Where we left off… The development of printing from hot metal moveable type through wooden letterpress to line casting.

3. PhototypesettingPhototype was a transition betweenmetal type and digital type.

4. Phototypesetting • In the 1950s-1980s phototypesetting used fonts which came on discs, sheets or rolls of film.

5. Phototypesetting • Light shone through the film onto printing paper to create the (photo)typesetting. Different sizes were made by movement of the optics.

6. Phototypesetting • But first the story was typed on a tape punch keyboard. • The machine perforated paper tape, making 1-6 holes in the tape for each letter typed. • Lets go back to the 70s!

7. Phototypesetting • This ‘computerised’ typesetting calculated such skilled tasks as kerning, leading,hyphenation and justification for you. • Early systems frequently failed in this task, as illustrated below by a headline from a newspaper…

8. Phototypesetting • Phototypesetting meant that designers had more scope to create cheap decorative typefaces.

9. Phototypesetting – the 70s

10. Desktop Publishing

11. Desktop Publishing • Typewriters had been around the desktop since the mid 1700s. www.etypewriters.com/history.htm www.officemuseum.com/typewriters.htm

12. Desktop Publishing • The IBM Selectric was an influential Golfball electric typewriter introduced in 1961. Type element or type ball. www.etypewriters.com/se-thumb.htm

13. Desktop Publishing • The ability to change fonts on one typed page was revolutionary. The IBM Composer followed the Selecteric. www.ibmcomposer.org

14. Desktop Publishing • The Daisy Wheel Typewriter also had interchangable fonts through replacing the wheel.

15. Desktop Publishing • For headlines the Kroytype was like a paper-tape Dymo machine. • Or dry-transfer rub down Letraset would be used. L e t r a s e t

16. Digital Typesetting

17. Digital Typesetting – the 80s • The mid 1980s saw the introduction ofpersonal computers. • With the Apple Macintosh, low cost desktop publishing systems took hold.

18. Digital Typesetting – the 80s A whole new world of setting your own type opened up for graphic designers.

19. Digital Typesetting • Digital type foundries began to appear, publishing fonts on computer disks and CDs.

20. Digital Typesetting • The four main technologies that were developed in Mac fonts were: • Bitmapped fonts • PostScript fonts • TrueType fonts, and • Anti-aliasing on the screen. • The latest technology is OpenType.

21. 1. Bitmap Fonts • Most early desktop computers had screen text that looked like something typed on a manual typewriter. • The Mac used little maps of black and white pixels (a bitmap) to make a letter on the screen. • ‘WYSIWYG’What You See Is What You Get

22. 1. Bitmap Fonts • The early Macs came with a number of bitmapped system fonts such as Chicago, Geneva, Helvetica, Palatino, and Times. • You could load further fonts from floppy disk.

23. 1. Bitmap Fonts • Bitmap fonts are still being developed and are still used for screen-based text. • You can create a bitmap letter using graph paper for your notebook. • See also http://minifonts.com/fontdesign.html • And BitFontCreator

24. 2. PostScript Fonts • In 1985 the new Apple LaserWriter printer used a programming language called Postscript to define the shape of letters using vectors.

25. 3. TrueType Fonts • When the Mac came with System 7 in 1991, it introduced TrueType fonts. • TrueType looked great at any size on screen and on paper.

26. 4. Anti-aliasing • In System 8.5, Apple brought the technology of Anti-aliasing to the Mac. • Anti-aliasing allows the Mac to display grays on the screen to smooth out the look of fonts:

27. Typesetting Terms

28. Typesetting Terms • The terms typeface, font and type family are often interchanged these days.

29. Typesetting Terms • In hot metal type, a TYPEFACE is aco-ordinated set ofcharacter designs. • Usually an alphabet of letters plus numerals, and punctuation marks.

30. Typesetting Terms • In hot metal type, the word FONT meant a complete typeface in: • a particular size (usually measured in points) • one weight (eg light, book, bold, black) • one orientation (eg roman, italic, oblique).

31. Typesetting Terms • Withdigital type, the FONTis the computer file that stores the characters as bitmaps orvector paths, before they are brought into being on a screen or a page.

32. Typesetting Terms • With digital type the wordsTYPE FAMILY means a range of different styles and weights of the same typeface:

33. Typesetting Terms • Morris Fuller Benton came up with the idea of typeface families (1872-1948). • He developed over 30 typefaces, amongst others, the Cheltenham family.

34. Typesetting Terms • In 1957, Swiss designer Adrian Frutiger created a new kind of family –Univers. Providing a full range planned in an orderly fashion, identified by numbers, not names.

35. Typesetting Terms • Today, type families have become larger, more diverse, and better thought-out. • There’s a warning though – the internet is full of free, very poorly designed typefaces! • For your notebook, look at the classification of type…

36. Classification of type • There are several classifications systems, when you research you will find it confusing! Try these: • Redsun – A Brief History • Redsun – Type classification • Adobe - classification • Wikipaedia - History • Thinking with type • Paratype – classification • MyFonts – classification • Linotype – classification • Spokane - classification

37. The Anatomy of Type

38. The Anatomy of Type • Learn the names of type’s bits and pieces’ by viewing the PowerPoint on the intranet and completing the worksheet. Start with… http://sofia.fhda.edu/gallery/typography/lessons/03anat/anatomy.html

39. The Anatomy of Type • Use your Anatomy notes to identify and catagorise some of the found fonts in your notebook. Spur Counter Bowl Counter Egyptian slab serif Aperture

40. Digital Type Design Designer Inspiration

41. Digital Type Design • Since the introduction of desktop publishing in the 1980s, designers have pushed type to the limits of legibility.

42. Digital Type Design • Designers like Neville Brody and David Carson were interested in type as abstract design and in breaking all the old rules. • Although they did say that you had to know the rules first to be able to break them!

43. Digital Type Design • Neville Brody is a British designer who, in the 1980s, art directed ‘The Face’ magazine.

44. Digital Type Design • He was the founding editor of the electronic magazine ‘Fuse’. • He has designed dozens of typefaces including his most popular Insigina, Arcadia, Blur, and Typeface Six. Check outFUSE here.

45. Digital Type Design • Émigré magazine was published between 1984 and 2005 by art director Rudy Vander Lans and type designer Zuzana Licko. Check out Émigré here.

46. Digital Type Design • Vander Lans and Licko also founded a digital type foundry and soon designers were creating the ‘Émigré look’ in everything.

47. Digital Type Design • David Carson is a surfer turned designer with no formal design education. • He designed the magazine Ray Gun in the 1990s. David Carson’ssite.

48. Digital Type Design • Carson was widely copied (and still is). • He used the new technology of personal computers to experiment and ‘illustrate’ with type that you need not be able to actually read.

49. Assignment Typesetting Independent Study and Classwork: 1 week to complete Hand in next Monday at 12.00.

50. Assignment • Historical research notes on the development of word processing,photo typesetting and digital fonts. • Produce creative layouts using techniques and materials suitable for the period. • Start with the web links in this presentation.