5.WALL& 43.TYPOGRAPHY
Thanks to michael silva for make me love this wonderful world.
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The walls are the best linen, in this work I extract the typographies of it most common way and transport them to the wall and the urban context. Manuel mondrag贸n
Wall
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8 1.In 1983, D. Stempel AG redesigned the famous Helvetica typeface for the digital age, creating Neue Helvetica for Linotype: a self-contained font family. Today, this family consists of 51 different font weights. It's original numbering system for the weight designations came from Adrian Frutiger's numbering system for the Univers family. The basic font weight, Neue Helvetica Roman, is at the heart of this numbering system. The designation 55 Roman forms the central point. The first figure of the number describes the stroke thickness -- 25 for ultra light to 95 for extra black. The second figure gives information on the width and orientation of the font -- Neue Helvetica 53 Extended or Neue Helvetica 57 Condensed, for instance. Neue Helvetica sets new standards in terms of its form and number of variants. It is the quintessential sans serif font, timeless and neutral, and can be used for all types of communication. pag.44
2.Palace Script Regular is an early twentieth-century version of an English copperplate script. Its steep incline and dramatic color variation give its letters the appearance of being engraved. Foundry: Monotype. pag.46
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13 3.This wall is a homage to Arthur Conan Doyle. Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (17061775) in Birmingham, England. Baskerville is classified as a transtypeface, positioned between the old style typefaces of William Caslon, and the modern styles of Giambattista Bodoni and Firmin Didot. The Baskerville typeface is the result of John Baskerville's intent to improve upon the types of William Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form. Foundry: Monotype. pag.48
4.Combined Typographies inside a house in ruins. Manual Script with Carbon.
5.Unknow font
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17 6.Klag贸n Bold is a mod of Klavika tipography designed by Eric Olson and published by Process Type Foundry.
7.Freight Sans, designed by Josh Darden in 2005, published by GarageFonts. pag.50 Klavika, designed by Eric Olson and published by Process Type Foundry. pag.52 Galliard, designed by Matthew Carter in 1978 and published by ITC. pag.54
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22 9.American Typewriter, designed by Joel Kaden in 1974, Tony Stan and published by ITC. This font was designed by Joel Kaden and Tony Stan. It is an ode to the invention that shaped reading habits and the idea of legibility, the typewriter. A compromise between the rigidity of its ancestor and the expectations of the digital age, ITC American Typewriter font retains the typical typewriter alphabet forms, lending the font a hint of nostalgia. pag.58
10. Rounded Stencil Bold Rough, designed by G端nther Flake, Sigrid Claessens in 1999 and published by Elsner+Flake. pag.60
11.Goudy Text, designed by Frederic W. Goudy in 1928 and published by Monotype. Frederic Goudy's name is associated with many other typefaces he designed including Goudy Sans, Goudy Modern,and the blackletter Goudy Text. Bold weights of Goudy Old Style and Goudy Catalogue were designed by Morris Fuller Benton. Particular care should be taken not to confuse Goudy Old Style with Goudy Modern, a completely different serif typeface also designed by Frederic Goudy in 1916. A version called Goudy Schoolbook also exists, with single-story versions of the letters A and G, but it is not for sale to the general public. 8.Voluta Script, designed by Viktor Solt-Bittner in 1998 and published by Creative Alliance. pag.56
Goudy Old Style is considered to be among the most legible and readable serif typefaces for use in print (offline) applications. pag.62
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25 12.07x5 its a bitmap font based in pixel art concept and published unkwon.
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13.Franklin Gothic, designed by Victor Caruso in 1980, Morris Fuller Benton and published by ITC, Franklin Gothic was originally designed as a typeface with a single weight and only two variations in width. Franklin Gothic has been used in many advertisements and headlines in newspapers. The typeface continues to maintain a high profile appearing in a variety of media from books to billboards.
design was drawn in 1905, and an extra condensed in 1906. Five years later Benton added an italic to the family, and two years after that a shaded font was offered.
At first only a Roman was released, but additional variants were added as Franklin Gothic became popular. A condensed
Arial, designed by Robin Nichols, Patricia Saunders in 1982 and published by Monotype, contemporary sans serif design,
In addition to Franklin Gothic, Morris Fuller Benton also designed the font in a condensed width with lighter weight, as News Gothic and Lightline Gothic. Extra condensed version became Alternate Gothic. pag.64
Arial contains more humanist characteristics than many of its predecessors and as such is more in tune with the mood of the last decades of the twentieth century. The overall treatment of curves is softer and fuller than in most industrial style sans serif faces. Terminal strokes are cut on the diagonal which helps to give the face a less mechanical appearance. Arial is an extremely versatile family of typefaces which can be used with equal success for text setting in reports, presentations, magazines etc, and for display use in newspapers, advertising and promotions. pag.68
DIN, designed by Albert-Jan Pool in 1995 and published by FontFont, The earliest version of a DIN face was released by the D Stempel AG foundry in 1923. Stempel's DIN face was based upon a 1905 typeface for the KĂśniglich PreuĂ&#x;ische EisenbahnVerwaltung (Royal Prussian Railway Company) and was applied mostly to architectural and engineering drawings. This version later became the basis for DINEngschrift. In 1929, the Berthold foundry released a version, it too was mostly applied to drawings. Both of the early DIN typefaces were made available as stencils,
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cut from an acetate material, for labeling technical drawings. Both of the earliest DIN faces were used primarily in oblique form. Spread of the DIN typeface, after its 1936 adoption by the German Standards Committee was rapid. The mostly widely used of the DIN 1451 group was DINMittelschrift. It was released as metal type, as acetate stencils for smaller applications, large metal stencil alphabets for application to vehicles and in train yards, and as cast metal lettering for street and building signage. Polish and Cyrillic variants of the face were
developed in the 1940s. Though the Bauhaus used a DIN inspired mark in catalogs and a periodical during the 1930s, popular use of DIN in print material did not occur until the 1960s. The transfer type company Letraset made several variants available, likely intended for architects and engineers, in the 1970s, but making it available to graphic designers as well. By the late 1980s use of DIN faces emerged in European and North American graphic work. In 1995, Dutch typeface designer AlbertJan Pool drew a multi-weight
version, eventually licensing it to Font Shop International as FF DIN. The FF DIN family, unlike DIN 1451, uses simplified standard weight names. pag.66
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31 14.Caslon, designed by William Caslon in 1725, Carol Twombly in 1990 and published by Creative Alliance. Caslon refers to a number of serif typefaces designed by William Caslon I (1692–1766), and various revivals thereof. Caslon shares the irregularity characteristic of Dutch Baroque types. It is characterized by short ascenders and descenders, bracketed serifs, moderatelyhigh contrast, robust texture, and moderate modulation of stroke. The A has a concave hollow at the apex, the G is without a spur. Caslon's italics have a rhythmic calligraphic stoke. Characters A, V, and W have an acute slant. The lowercase italic p, q, v, w, and z all have a suggestion of a swash. pag.70
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33 15.Arno, designed by Robert Slimbach and publisher: Adobe. Named after the river that runs through Florence, the center of the Italian Renaissance, Arno draws on the warmth and readability of early humanist types of the 15th and 16th centuries. While inspired by the past, Arno is distinctly contemporary in both appearance and function. Designed by Robert Slimbach, Adobe principal designer, Arno is a meticulously crafted face in the tradition of early Venetian and Aldine book types. Embodying themes that Slimbach has explored in typefaces such as MinionŽ and Brioso™, Arno represents a distillation of his design ideals and a refinement of his craft. As a multi-featured OpenType family, with the most extensive Latin-based glyph complement Adobe has yet offered, Arno offers extensive pan-European language support, including Cyrillic and polytonic Greek. The family also offers such typographic niceties as five optical size ranges, extensive swash italic sets for Latin, Greek, and Cyrillic, and roman and italic small capitals throughout. pag.72
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35 16.Memphis, designed by Rudolf Wolf in 1930 and published by Linotype. Because of the geometric basis of its forms, Memphis is often thought of as a font for technical fields, making a rational, purposeful impression. This emphasis on objectivity is well-suited to technical texts, but Memphis is appropriate for any text which should exhibit a clear, neutral character. Some weights are availabla as soft rounded versions. pag.74 Banshee, designed by Timothy Donaldson in 1997 and published by Creative Alliance. The wind howled, the night grew long, and British type designer and lettering artist Tim Donaldson created the typeface Banshee. This dramatic display face is modeled after one of Donaldson´s handwritten lettering styles. Banshee began as letters rapidly written by Donaldson with one of his homemade "ruling" pens. The letterforms are firmly rooted in the tradition of classical chancery italics. With its ragged lines and counters, Banshee realistically captures the irregularity of pen and ink on paper, lending an immediacy to packaging, advertisements, posters, and invitations that few digital. pag 78 Myriad, designed by Robert Slimbach, Carol Twombly in
1992 and published by Creative Alliance. It's a humanist sans serif typeface, meaning that the forms are primarily based on classic romans, much like conventional or classic serifed fonts but without the serifs. Myriad also has subtle geometric shaping and monotone color, balanced by varying letter widths and open counter shapes. A readable and friendly face, Myriad works well for both text and display typography. A headline font and the playful "sketch" and "tilt" versions add versatility. MyriadÂŽ Pro, an expansion completed in the late 1990s, includes weights from Light to Black and Condensed to Extended, as well as Old style figures, Greek, Cyrillic and Central European characters. pag.80 Arcadia, designed by Neville Brody in 1990 and published by Linotype. Arcadia was designed by British graphic design guru Neville Brody, originally as the banner for Arena magazine in 1986, and released as a font by Linotype GmbH in 1990. Borrowing elements from Art Deco styling, Arcadia is a tall and striking geometric design with extremely condensed and contrasting forms. The alternate font has more pronounced ascenders and descenders for use at smaller point sizes. Arcadia
lends eye-popping elegance to display settings for advertising, packaging, invitations, or logos. pag.76 Visitor TT2, its a Bitmap font, designed by Enigma and published in 2002 as a free font true type.
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17.Bauhaus, this font was designed by Edward Benguiat and Victor Caruso in 1975. They based it on a prototype face drawn by Herbert Bayer in 1925 while he was teaching at the Bauhaus School in Dessau, Germany. ITC Bauhaus has simple geometric shapes and monotone stroke weights. The rounded, open forms and quirky geometric gyrations of ITC Bauhaus will make contemporary graphic designs look both fun and stylish. Similar geometric faces are Blippo, Plaza, Pump, or more geometric in form are Avant Garde, Avenir, Erbar, Neuzeit Grotesk, and Kabel. pag .82
18.Futura, first presented by the Bauer Type Foundry in 1928, Futura is commonly considered the major typeface development to come out of the Constructivist orientation of the Bauhaus. movement in Germany. Paul Renner (type designer, painter, author and teacher) sketched the original drawings and based them loosely on the simple forms of circle, triangle and square. The design office at Bauer assisted him in turning these geometric forms into a sturdy, functioning type family, and over time, Renner made changes to make the Futura fonts even more legible. Its long ascenders and descenders benefit from generous line spacing. The range of weights and styles make it a versatile family. Futura is timelessly modern; in 1928 it was striking, tasteful, radical - and today it continues to be a popular typographic choice to express strength, elegance, and conceptual clarity. Typefaces in the same style like Futura are: Avenir, Metromedium, Neuzeit Grotesk. pag.84
19.Avant Garde Gothic was designed by Herb Lubalin and Tom Carnase in 1970. They based it on Lubalin´s logo for Avant Garde Magazine - an exciting construction of overlapping and tightly-set geometric capitals. ITC Avant Garde is a geometric sans serif; meaning the basic shapes are constructed from circles and straight lines, much like the work from the 1920s German Bauhaus movement. The early versions of ITC Avant Garde became wellknown for their many unique alternates and ligatures that still conjure up the typographic aura of the 1970s. These fonts contain the basic alphabets (without the old unusual ligatures). Still strong and modern looking, ITC Avant Garde has become a solid staple in the repertoire of today's graphic designer. The large, open counters and tall x-heights seem friendly, and help to make this family work well for short texts and headlines. The condensed weights were drawn by Ed Benguiat in 1974, and the obliques were designed by André Gürtler, Erich Gschwind and Christian Mengelt in 1977. ITC Avant Garde® Mono is a monospaced version done by Ned Bunnel in 1983. pag.86
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grap
Typo phy
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1.Helvetica
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2.Palace
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3.Baskerville
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4.Freight Sans
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5.Klavika
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6.Galliard
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7.Voluta Script
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8.American Typwriter
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9.Stencil
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10.Goudy Text
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11.Franklin Gothic
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12.DIN
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13.Arial
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14.Caslon
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15.Arno
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16.Memphis,
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17.Arcadia
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18.Banshee
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19.Myriad
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20.Bauhaus
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21.Futura
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22.Avant Garde Gothic
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Manuel Mondrag贸n del Busto
http://www.mondragon.isgreat.org