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GØtham GØtham GØtham

Gg Times have changed


“Typefaces are not conceptual, they are formal.” black 55/55


Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham light italic 11/13.2


Designer & Editor {Brianna Kindell} Publication Date {April 26, 2010} Course {GDES 1314} Text Credit {Elliot Earls} medium 12/22


G

otham

medium 200/240, 30/36

Times have changed medium 22/26.4


Table of Contents light 24/23

1&2 “the craft of drawing by hand.”

5&6

3&4 “Everywhere you turn there it is.”

7&8

“God (or the Devil, or possibly both) is in the details.”

“The humanist and the geometric”

9&10

11&12

“Don't so much understand how a letter is drawn: experience how a letter is drawn.”

“bare efficient essentials” book 24/14, 11/14


“Type has lost it’s urgency, and has regained its soul.” bold 30/36

Gg bold 30/36


â€œâ€Śthe craft of drawing by hand is still a most valuable asset when it comes to designing fonts, and that computer tricks are a poor substitute for intent. refinement, is always an optical endeavor.â€? light italic 11/13.2

The hand and retina must move in symbiotic lock step as they both trace the physical line. book italic 12/14.4

italics

It's through this process that one can learn to trust not the mind, but the retina. book italic 12/14.4

ultra italic 60

The hand moves, the mark changes, a the eye responds. The eye, and how it relates to mark making, or more accurately, how it responds to the mark made, is the most important thing. light italic 21/25.2

Whiter!1 Grayer?2 closer?3 Fa r t h e r !4 Tigh


While making marks on paper, the internal non-linguistic dialog between retina and cortex may go something like this: book 17/16

How thick? Thicker! medium 24

ultra 24

How black?

Bigger!

black 23

black 31

variation

ultra 57

How thin?

Blacker!

Thinner

Smaller

light 24

thin 24

black 26

thin 18

2 1 book 14 2 thin 14 3 bold 14 4 book 14 5 light italic 14 6 ultra 14

hter?5 T o o T ight!6 Whiter!1 Grayer?2 c


Everywhere Gotham Thin Everywhere you turn there it is.

Gotham Light Everywhere you turn there it is. Gotham Light Italic Everywhere you turn there it is.

Gotham Book Everywhere you turn there it is. Gotham Medium Everywhere you turn there it is. Gotham Bold Everywhere you turn there it is.

3

Gotham Black Everywhere you turn there it is. Gotham Black Italic Everywhere you turn there it is.


there it is

e you turn Gotham Thin Italic Everywhere you turn there it is.

Gotham X Light Everywhere you turn there it is. Gotham X Light Italic Everywhere you turn there it is.

Gotham Book Italic Everywhere you turn there it is. Gotham Medium Italic Everywhere you turn there it is. Gotham Bold Italic Everywhere you turn there it is.

Gotham Ultra Everywhere you turn there it is. Gotham Ultra Italic Everywhere you turn there it is.

4


The simple process of making marks on paper is less of an intellectual process than a biological process. {One must cultivate a feel for proportion, solidity, balance, etc.} book 13/14

...more contemporary developments within cognitive scienve and perceptual psychology, issues of balance, harmony, scale, as well as principles of gestalt, all have a bearing on the function and legibility of letterforms. medium 13/15.6

{think through the body light 10/12, book 18

5

I am resolute in my belief that there is simply no correlation between time and quality, and that all things historical are not neecessarily bad. medium 13/15.6


One must cultivate a feel for: book 18/21.6

&&&

proportion solidity balance light,medium, bold 24/20

book italic 120/144, light italic 100/120, thin italic80/96

Rely on your history to guide you. {Think through the body}. Arrive on the beautiful shores of naivete and anti-mastery only after toiling the fields of mastery. light, light italic 13/15.6

But as they say,

“God (or the Devil, or possibly both) is in the details.� haven't looked, nor can they draw). bold 20/23

Quite possibly the biggest challenge facing type designers who are just starting out is that most cannot see, nor can they draw (I should amend that slightly; most haven't looked, nor can they draw). light 10/12, book 18/23


Does this imply that all letterforms must have serifs or strokes that are in some way informed by the ruling pen, nib, or chisel? Of course not! As a matter of fact, some of the most interesting typographic specimens bear no correlation to these tools. book, medium 13/15.6

Thë grêªt årtîst ør Ðésïgnër iš s/he whö is nø lºngêr çõnštri©téd þy the ®ules. But ªnti-måstery cøme§ äftêr mástérÿ. medium 17/20.4

geomet 7


“The humanist and the geometric”

“The humanist and the geometric” “The humanist and the geometric” ultra, book, xlight 24/28.8

•Historical revival

ric

•Vernacular interpretation •Exclusively formal extrapolation medium, book, light 12

medium, thin 44

8


"Don't so much understand h drawn: experience how a lett light 16/20

What in jazz they call “chops,” and in design they call “fundamental graphic exercises” line rhythms, gradation, and figure/ground studies. light, medium/18.21.6

But it is nuance or “feel” that seperates the chimps from the apes.

And no guitar teacher or book or computer program can teach "feel." The nuance of the activity mirrors the nuance of the typographic form, which mirrors the nuance of life. musical passage. bold 15/12, book 8/9

9

To borrow from our

musical metaphor

again, it's quite easy to rough out a plan of study for the guitar. It's quite easy for a guitar teacher to communicate to a student the technical aspects of any given musical passage. bold 21/14, book 8/9.6


ow a letter is er is drawn."

one1 two2 two2 two2 three3 two2 four4 two2

three3 three3 three3 three3

four4 four4 four4 four4

book 13/15.6

Musical instrument performance represents the perfect synthesis of theory and practice. Theory is study understood and finally applied. But the essence is that theory (or thinking) is forgotten in the moment of performace. bold 14/16.8

•To do or perform habitually or customarily •To carry out action; observe light 12/11

To do or perform repeadtedly in order to acquire or polish a skill. It's all about craft. And craftsmanship demands practice. It is through the practice of type design that one will develop mastery and come to a deep understanding of all the technical issues. book 12/11

10


bare efficient essentials

book 30/36, medium, light italic 30/24

11


This book is set in Gotham, a typeface designed by Hoefler & Frere-Jones. Published at St. Edward's University using a HP 5550 Color Laser Printer on standard bond paper. book 13/15.6

12


GØtham GØtham GØtham


Gotham: A Type Specimen