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TYPOGRAPHY: CLASSIFICATION AND CONTRIBUTION TO ALBUM DESIGN

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TYPOGRAPHY: CLASSIFICATION AND CONTRIBUTION TO ALBUM DESIGN MARLEY GRAYSON

Publication ÂŠ 2020 ECUAD All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means without prior written permission of the publisher. Editing: Marley Grayson Design: Marley Grayson Image credits: Beggars Banquet cover, designed by Decca Records Skylarking cover, designed by Andy Partridge The Queen Is Dead cover, designed by Morrissey My Aim Is True cover, designed by Colin Fulcher Station to Station cover, designed by David Bowie The Astrud Gilberto Album cover, designed by Michael Malatak Font credits: Body text set in Minion, designed by Robert Slimbach Headline set in Bilo, designed by Pieter Van Rosmalen Displayed Fonts: Shelley Andante, designed by George Shelley Sabon, designed by Jan Tschichold Bidoni, designed by Giambattista Bodoni Rockwell, designed by Frank Hinman Pierpoint Akzidenz-Grotesk, designed by the Berthold Type Foundry Futura, designed by Paul Renner Printed in Canada Library and Archives Canada Cataloguing in Publication Marley Grayson, editor Typography: Classification and Contribution to Album Design/ Marley Grayson ; COMD204-Project1 Type Safari. ISBN 975-1-696359-81-7 (pbk.) 1. Student project. 2. Illustration and Communication Design--Classroom. Emily Carr University of Art + Design, host institution V. Title. N8236.P35B83 2015 704.9â€™4933827282 C2013-903923-6

When choosing a typeface, graphic designers consider the history of typefaces, their current connotations, as well as their formal qualities. The goal is to find an appropriate match between a style of letters and the specific social situation and body of content that define the project at hand. Ellen Lupton Thinking With Type

Script: Shelley Andante Beggars Banquet - The Rolling Stones, 1968 Script typefaces are based on the varied forms and movements created by handwriting. This specific font, Shelley Andante, is based on the style of George Shelley, an 18th century writing master. Matthew Carter designed the Shelley family in 1972 for Mergenthaler Linotype. Script typefaces are commonly used for invitations, announcements and diplomas, giving the sense of sophistication and elegance, which is very apparent on this Rolling Stones album cover. The original cover design of this album kept it off the shelves for nearly six months as the band and record company argued over the design. The original cover was a photograph of a run-down bathroom stall covered in graffiti and the top of a very worn out toilet. The compromise is shown above, a completely opposite approach to the offensive toilet scene, a wedding invitation written in an elegant script. By the 80â€™s, however, the original cover was far less offensive than originally viewed and was re-released.

Typeface Features • Right sloped axis • Imitates calligraphic writing • Varied stroke modulation • Often have strokes that connect them to other letters • Other key fonts include, Bickham Script, Palace Script, and Mistral

Old Style: Sabon Skylarking - XTC, 1986 Similar to script, old style typefaces emulate the hand and classical calligraphy. Sabon was designed by Jan Tschichold, a significant figure in design history, in 1966 and was based on the sixteenth-century typefaces of Claude Garamond. Commonly used for book text, this font gives the sense of tradition and simplicity. The cover for XTC’s Skylarking features an image found by the lead singer, Andy Partridge, who said “I stole this very tasteful print from a classics concert in 1953 done by a chap called Hans Erney. I changed a few things on the drawing. I think on the original one the boy had a guitar and the girl had a flute, but we gave them both flutes.” The text itself is very small for an album cover, however since old style typefaces, like Sabon, have such low line contrast they can remain readable at much smaller sizes. This classical illustration paired with an old style typeface captures the atmosphere of a pastoral summer, celebrating nature and the simplicities of life, all of which are conveyed through the music.

Typeface Features • Axis inclined to the left • Some contrast in stroke modulation • Bracketed serifs • Oblique Stress • Horizontal bar in lower case 'e' • Smaller x-height • Head serifs are usually angled • Other key fonts include Garamond, Bembo, and Caslon

Modern: Bodoni The Queen Is Dead - The Smiths, 1986 Modern serif typefaces were a radical development in the late 18th century as type moved away from the influence of the hand. This specific typeface, Bodoni, was originally designed by Giambattista Bodoni in 1798. Advances in printing technology allowed Bodoni to be created with a higher contrast in thick and thin stroke, the resulting design is recognizable, elegant and refined. The Smiths 1986 album cover was designed by their frontman, Morrissey. Each of The Smiths albums feature an image of someone from pop culture with text overtop and the band name dominating the album name in size. This cover features Alain Delon from the 1964 French film Lâ€™Insoumis, which was regarded as one of his worst films. The extreme lighting on the subject creates drama and danger. The grainy image reflects newsprint images which makes the use of a modern typeface, a commonly used typeface in newspaper headlines, so fitting. The elegant text looming over a dark figure supports the tone of the album; isolation, emptiness, and despair.

Typeface Features • Upright axis • Strong contrast in stroke modulation • Horizontal serifs • Often no brackets on serifs • Tight apertures • Some stroke endings have ball terminals, such as the 'J' and 'y' • Other key fonts include, Corvinus, Modern Extended, and Didot

Slab-Serif: Rockwell My Aim Is True - Elvis Costello, 1977 Slab serif typefaces were introduced in the 19th century as a demand for bolder type in advertisement arose. They were heavy and commanding, one of the most popular of which was Rockwell. Rockwell was released by the typeface design company, the Monotype Corporation in 1934, in a project spearheaded by Frank Hinman Pierpont. This typeface is perfect for titles that require a steady, bold typeface with an influence of geometry. Costello’s debut album features himself, in his signature pose, within a visible grid system of black and white squares which read “elvis is king”, with each black square containing a letter of perfectly fitting Rockwell typeface. Although the background is busy, Rockwell is able to stand out yet still fit proportionally into the grid system with its square brackets and mathematical design. The bold recognizable typeface was featured on all subsequent advertising for the album to create a distinct image for the new musician.

Typeface Features • Upright axis • Heavy, square ended serifs • Horizontal Serifs • Two types: Egyptian and Clarendon • Egyptian (Rockwell) • Little contrast in stroke modulation • No brackets on serifs • Clarendon • More stroke modulation • Bracketed serifs • Other key fonts include, Clarendon, Playbill, and Memphis

Early Sans-Serif: Akzidenz-Grotesk Station To Station - David Bowie, 1976 Humanist sans-serif typeface designs were modeled on old style typefaces and became common in the twentieth century. The above typeface, Akzidenz-Grotesk, was originally released in 1898 by the Berthold Type Foundry in Berlin, Akzidenz meaning its intended use for commercial print and Grotesk indicating it as a sans-serif typeface. Post-war, it became iconic within the International design style community. Bowie’s album design exhibits several hallmarks of this style, which makes the typeface choice so fitting. Information organized using a grid, use of white space, and objective photography in place of illustration are a few prominent connections that can be made between the album design and International style. The image is a scene from the movie, The Man Who Fell To Earth, in which Bowie’s character, an alien, steps into a spaceship to take him back home. The image along with all these European design elements, including the typeface, support Bowie’s message behind the album, “a plea to [go] back to Europe” after being stuck in Los Angeles for too long.

Typeface Features • Upright axis • Uniform stroke modulation • No serifs • Squareness of curve • Small aperture • Short descenders • Spurred 'G' • Cap height and ascender height are usually the same • Other key fonts include, Franklin Gothic, Venus, and Johnston

Geometric Sans-Serif: Futura The Astrud Gilberto Album - Astrud Gilberto, 1965 Geometric sans-serif typefaces evolved in the twentieth century in the pursuit of pure geometry within typeface design. They give a contemporary sense of purity and cohesiveness. Futura was designed by Paul Renner, a german typeface designer, in 1927 and was revolutionary for its time. Today it is one of the most popular typefaces used on the internet and gives albums from any period, such as Astrud’s, a sense of modernity. Astrud’s self titled 1965 bossa nova album was her solo debut after singing on two hit albums with her husband, João Gilberto, and secret lover, Stan Getz. Eager to seperate herself from the two bossa nova powerhouses, her solo album presents her image front and center along with the title, an unavoidable introduction to the artist. Futura was marketed as the “type of today and tomorrow”, so it’s no coincidence that the typeface gives the cover a feeling of familiarity and innovation, which is an advantage when introducing a new artist to the public. The music featured on the album is beautiful and timeless, a quality that is appropriately reflected in the design.

Typeface Features • Bowls circular; no axis • Uniform stroke modulation • No Serifs • Based on simple geometric shapes (the ‘O’ is a perfect circle) • Sharp points on letters such as 'M' and 'V' • Single story 'a' • Other key fonts include, Erbar, Eurostyle, and Kabel

Bibliography Biles, Brian. “The Astrud Gilberto Album.” Fonts in Use, 30 Mar. 2020, fontsinuse.com/uses/31879/the-astrud-gilberto-album. Bookasta, Randy, and David Howard. “Season Cyclers.” Chalkhills, 1990, chalkhills.org/articles/Contrast1990.html. Haley, Allan. “Type Classifications.” Fonts.com, www.fonts.com/ content/learning/fontology/level-1/type-anatomy/type classifications. Lupton, Ellen. Thinking with Type: a Critical Guide for Designers, Writers, Editors & Students. Princeton Architectural Press, 2010. Martin, Celeste. “Type Classification.” Typographic Communication 204. Emily Carr Institute of Art + Design, Vancouver. PDF. Mitchell-Cranfield, Robin. “International Type Style.” Typographic Communication 204. Emily Carr Institute of Art + Design, Vancouver. PDF. Rhatigan, Dan. “Futura: The Typeface of Today and Tomorrow.” Ultrasparky, 8 Jan. 2014, ultrasparky.org/archives/2014/01/ futura_the_type.html. “Rockwell® Font Family Typeface Story.” Fonts.com, www.fonts. com/font/monotype/rockwell/story. Springer, Matt. “Why the Rolling Stones Had to Change 'Beggars Banquet' Cover.” Ultimate Classic Rock, UCR, 6 Dec. 2013, ultimateclassicrock.com/rolling-stones-court controversy-over-beggars-banquet-cover/. “Station To Station.” The Bowie Bible, 3 Mar. 2020, www.bowiebible.com/albums/station-to-station/. Strivzer, Ilene. “Scripts: Formal to Casual” Fonts.com, www.fonts. com/content/learning/fyti/typefaces/scripts. Thelastnoelle. “The Smiths ‘The Queen Is Dead.’” Album Design, Nov. 2014, albumdesignclass.wordpress.com/2014/11/02/the- smiths-the-queen-is-dead/. “100 Best Albums of the Eighties.” Rolling Stone, Rolling Stone, 29 Aug. 2019, www.rollingstone.com/music/music-lists/100-best- albums-of-the-eighties-150477/xtc-skylarking-67641/.

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