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C O R B E L c o r b e l C O

o r b e l C O R B E L c o r

R B E L c o r b e l C O R B

b e l C O R B E L c o r b e

E L c o r b e l C O R B E L

l C o CO r OR b RB e BE l E LC L cO c oR o r B r b E b e L e l c l Co CO r

R B E L c o r b e l C O R B

b e l C O R B E L c o r b e

E L c o r b e l C O R B E L

l C o CO r OR b RB e BE l E LC L cO c oR o r B r b E b e L e l c l Co CO r

R B E L c o r b e l C O R B

b e l C O R B E L c o r b e1


Editor and Designer Daniel Arpaia

Graphic Design 1314

Typography 1


Text by Robert Bringhurst

CORBEL Published 2009

3


22/26.4

ABCDEFGHIJKLMNOPQRSTUVWXYZ 22/26.4 abcdefghijklmnopqrstuvwxyz “/[{<:,?#*@!.;>)}]\’

a bB aA Bb 60

100 Italic

A

100

60 Italic

100

60

60 Italic

100 Italic

“/[{<:,?#*@!.;>)}]\’ zyxwvutsrqponmlkjihgfedbca ZXYWVUTSRQPONMLKJIHGFEDCBA


1 0 44 3 5 7

22 80

100

100

100

100

125

9 8 115

125

6

100

130

5


oratory art music dance

“Like oratory, music, dance, calligraphy—like

15 Italic

TYPOGRAPHY EXISTS TO HONOR CONTENT

anything that lends its grace to language—

typography is an

that can be

deliberatly misused.” It is a craft by which the meaning of a text (or its absence of meaning) can be clarified, honored and shared, or knowingly

14/22 24 Bold 28 Italic

disguised.

16/19.2

45/46 Bold

60 Bold Italic

In a world rife with unsolicited messages, typography must often draw

AT T E N T I O N

11/13.2 to itself before it will be read. Yet in order to be read, it must relinquish

the attention it has drawn. Typography with anything to say therefore 20/24 aspires to a kind of Italic

statuesque transparency.

C A L L I G R A P H Y


16

Its other traditional goal is

DURABILITY

54

34

D u r a b i l i t y d 16/22

36 Bold Italic 36 Bold Italic

u

r

a

b

i

l

i

t

y24

: not immunity to change, but a clear superiority to fashion. Typography at its best is a visual form of language linking

time.

timelessness and 7


One of the principles of durable typography is always 11/26

legibilitity; another is something more that gives its Bold24 20 living energy to the page. It takes various forms and goes Bold 16 Bold

18 serenity, liveliness, Bold laughter, grace and joy. Bold15

by various names, including

19 Bold

17 Bold

13/23 Letterforms that honor and elucidate what humans see and

say deserve to be honored in their turn. 20 Well-chosen

words deserve well-chosen letters;

these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typograpy is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as the others in the chain.


12/15 The typographerâ&#x20AC;&#x2122;s task has always been to

add a somewhat unnatural edge, a proctective shell of artificial order, to the power of the writing hand. The tools have altered over the centuries, and the exact degree of unnaturalness desired has varied from place to place and time to time, but the character of the essential transformation between manuscript and type has scarcely changed.

49 14/16.8 Typography is just that: Bold

idealized writing.

T I M E

32/38.4

49 Bold

16 Italic

P L A C E

Intelligence Knowledge Skill

LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN

36 Bold Italic

9


20/20

In a well made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines

15 14

and pages, the letters are alive. They dance in their seats. Sometimes they rise and dance in the aisles. Simple as

12

it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that

18 Bold 24/23 Bold

typographers are really asked to do and it is enough.

Literary style,

says Walter Benjamin, 9/22 â&#x20AC;&#x153;is the power to move Bold It means typography that can walk famaliar ground freely in the length without sliding into platitudes, typography that responds to and breadth of linguistic new conditions with innovative 18 solutions, and typography that Bold thinking without does not vex the reader with slipping into banalty.â&#x20AC;? its own originality in a self16 23 Italic

conscious search for praise.


Endless Endless Endless Endles

14/22 Typography is to literature 60 Italic

as musical performance

14 Bold 16 Italic

is to composition: an essential act of interpretation, full of

endless opportunities for insight or obtuseness.

Much typography is far removed from literature, for language has many users, including packaging and propaganda. Like music, it can be used to manipulate behavior and emotions. But this is not where typographers, musicians or other human beings show us their finest side. Typography at its best is a slow performing art, worthy of the same informed appreciation that we sometimes give to musical performances, and capable of giving similar nourishment and pleasure in return. 10/20 13/15.6 The first task of the typographer is therefore to read and 15 understand the text; the second task is to analyze and Bold

map it. Only then can typographic interpretation begin.

11


9/10.8 If the text has many layers or sections, it may need not only heads and subheads but running heads as well, reappearing on every page or two-page spread, to remind readers which intellectual neighborhood they happen to be visiting.

Novels seldom need such sign posts, but they often require 13/15 typographic markers of other kinds. Ken Kesey’s novel Bold Sometimes a Great Notion (New York, 1964) seems to Italic flow like conventional prose, yet it shifts repeatedly in mid-sentence between roman and italic to distiguish what characters say to each other from what they say in 15 silence to themselves. Italic 11/18 THE TYPOGRAPHER MUST ANALYZE AND REVEAL THE INNER ORDER

OF THE TEXT, AS A MUSICIAN MUST REVEAL THE INNER ORDER OF THE MUSIC HE PERFORMS. BUT THE READER, LIKE THE LISTENER, SHOULD IN RETROSPECT BE ABLE TO CLOSE HER EYES AND SEE WHAT LIES INSIDE THE WORDS SHE HAS BEEN READING. THE TYPOGRAPHIC PERFORMANCE MUST REVEAL, NOT REPLACE, THE INNER COMPOSITION. TYPOGRAPHERS, LIKE OTHER ARTISTS AND CRAFTSMEN - MUSICIANS, COMPOSERS AND AUTHORS AS WELL - MUST AS A RULE DO THEIR WORK AND

36


14/19 22 Bold Italic

22 Bold

systems, two sets of habits, or if you like, TWO PERSONALITIES, intersect. They need not But the bits of information handled by typographers differ in one essential respect from the computer programmerâ&#x20AC;&#x2122;s bits. Whether the type is set in hard metal by hand, or in softer metal by machine, or in digital form on paper or film, every comma, every parenthesis, every e, and in context, even every empty space, has style 12/22

as well as bald symbolic value.

13


14/16.8

Letters are microscopic works of art as well as useful symbols. They mean what they are as well as what they say. Typography is the art and craft of handling these doubly meaningful bits of information. A good typographer handles them in

intelligent

,

36

32 Bold

intelligent

COHERENT

48 Bold

48 Italic

,

COHERENT

52 Bold

60 Italic

sensitive 60 Italic

sensitive

64 Italic

ways.

14


13/21

Selecting the shape of the page and placing the type upon it is much like framing and hanging a painting. A cubist painting is an eighteenth-century gilded frame, or a seventeenth-century still-life in a slim chrome box, will look no sillier than a nineteenth-century text from England set in types that come from seveenteenth-century France, asymmetrically positioned on a German Modernist

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page.

page

20

page

24

page

28 32 36 40

page

page

page

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C O R B E L

Font Created by

Jeremy Tankard Designed for Microsoft Windows Vista and Microsoft Office 2008 Printed From

HP 5550 Color Laser Printed On

11x17 Paper Corbel *

Corbel Italic **

Corbel Bold ***

Corbel Bold Italic ****

C O R B


Type Specimen Book  

Type specimen book

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