Page 1

Beton Designer Noha Khashoggi Class TypographyI

rocess package p d an r te os p r he p ra og Assignment Typ uerrero Instructor Francheska G


Table of Content

Page 1

Final visible grid

Page 2

Written paper: Complete Paper

Page 3

Paper paragraphs: Flush Left 8 pt. cap height, 9 pt. leading Paper paragraphs: Flush Left 8 pt. cap height, 11 pt. leading

Page 4

Paper paragraphs: Flush Left 8 pt. cap height, 13 pt. leading Paper paragraphs: Flush Left, 8 pt. cap height, 15 pt. leading

Page 5

Paper paragraphs: Flush Left, 8 pt. cap height, 17 pt. leading Paper paragraphs: Flush Left, 8 pt. cap height, 19 pt. leading

Page 6

Paper paragraphs: Flush Left, 9 pt. cap height, 11 pt. leading Paper paragraphs: Flush Left, 9 pt. cap height, 13 pt. leading

Page 7

Paper paragraphs: Flush Left, 9 pt. cap height, 15 pt. leading Paper paragraphs: Flush Left, 9 pt. cap height, 17 pt. leading

Page 8

Paper paragraphs: Flush Left, 9 pt. cap height, 19 pt. leading Paper paragraphs: Flush Left, 9 pt. cap height, 21 pt. leading

Page 9

Paper paragraphs: Flush Left, 9 pt. cap height, 23 pt. leading Paper paragraphs: Flush Left, 9 pt. cap height, 25 pt. leading

Page 10

Poster design 1: Typographic Mode of Communication 1 and 2 - Legibility and Content Hierarchy

Page 11

Poster design 2:Typographic Mode of Communication 2 and 3 - Content Hierarchy and Expression

Page 12

Poster design 3: Typographic Mode of Communication 3 - Expression

Page 13

Final Poster design


1


The Bauer Type Foundry was the lead in type design in Germany during the 1930s.

Work Cited

The foundry housed some of the most important typographers of all time. Some of

Beton™ font family « MyFonts.” Find Fonts, Try Fonts, Buy Fonts « MyFonts. Web.

which designed faces that includes “Futura, Beton, Traftan Script, Corvinus, Gillies

Gothic, Cartoon, Legand Bauer Text and Lilith. Types that have played- and con-

20 Oct. 2009. <http://new.myfonts.com/fonts/linotype/beton/>.

“Biography of Georg Hartmann Newly Published.” Fonts4ever. Web. 20 Oct. 2009.

tinue to play- a leading part in the transformation that is taking place in American

Typography today. [Between 1937-1943] Bauer types have always been conceived

Campbell, R. “Specimen Book of Bauer Types.” Garloo. Web. 20 Oct. 2009.

and created primarily for advertising use. That they have been eagerly seized upon

by book publishers and fine printers in every field an added tribute to their unusual

Download fonts from classic to cool - Linotype.com. Web. 20 Oct. 2009. <http://

excellence. To achieve types of supreme distinction we [the foundry] have sought

out the finest living craftsmen, wherever they may be found and have secured their

<http://www.fonts4ever.com/discover_news.php?language=en>.

<http://www.garloo.com/bauer.htm>.

www.linotype.com/722-20018/worksandsamples.html>.

“Heinrich Jost - Linotype Font Designer Gallery.” Download fonts from classic

best designs. This is half the secret of the success of Bauer types. The rest of it is a

to cool - Linotype.com. Web. 20 Oct. 2009. <http://www.linotype.

matter of the meticulous care and skill born of generations of tradition and experi-

com/722/heinrichjost.html>.

ence, with which we translate their designs into type metal.” (Campbell)

Lawson, Alexander S. Anatomy of a typeface. Boston: Godine, 1990. Print. Loxley, Simon. Type The Secret History of Letters. London: I. B. Tauris, 2004. Print.

Heinrich Jost (1889-1945) designed typefaces for the Bauer type foundry in Frank-

Macmillan, Neil. An A-Z of Type Designers. New York: Yale UP, 2006. Print.

furt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved to Munich where he studied book production at the Kunstgewerberchule in Munich under Paul Renner, typographer who designed futura, and Emil Preetorius. “After leaving he worked for a daily paper and various Munich Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

Beton was the mostly used in advertising as a display face. It was following the worldwide trend of reviving 19th century fonts, which was started by German type designer Rudolf Wolf who designed Memphis, a slab-serif, in 1929. Slab serifs are “heavy mono-line (having a uniform stroke width), with thick square-ended serifs.” (Loxley 65) at that time slab-serifs were considered modern, because of their industrial appearance as well as their distance from the hand drawn look. Their popularity depended on the growth of newspapers as well as the advertising markets. Slab-serifs were bold and easy to read from a distance, which was great to show off a product, or attracting readers by blowing up a headline. (Lawson 320)

“By the 20th Century, the typographic establishment had begun to tame, categorize, and codify 19th Century type styles. It was in the wake of this environment that Jost developed Beton.” (MyFonts.com) Beton was finally released in 1937, and it was the modernized version of slab-serifs in the 1930s, and was considered the default slabserif for designer, somewhat like Helvetica today. It works great for ‘period looking’ designs, since designers were mimicking the Victorian style. (Loxley 66)

The Beton family included six styles of type: Beton light, Beton Demi Bold, Beton Bold, Beton Extra bold, Beton Condensed, and Beton Compressed. The first four can be used for a body of text, or in small sizes. However, the last two are more used in headlines rather than text, because of their heavy weights. (Myfonts.com) Even though “Beton, of the Bauer foundry, proved the most popular, but all of these types [slab-serifs] suffered in comparison with the sans serifs, since the serifed geometric pattern was not compatible with the design” of the new modern advertisers. (Lawson 320) Beton always seemed to fight against futura, a sans serif. As a result, after WWII more sans serif typefaces were used and type was mostly dominated by futura.

2


Flush Left 8 pt. with 9 pt. leading

Flush Left 8 pt. cap height with 11 pt. leading

The Bauer Type Foundry was the lead in type design in Germany during the 1930s. The foundry housed some of the most important typographers of all time. Some of which designed faces that includes “Futura, Beton, Traftan Script, Corvinus, Gillies Gothic, Cartoon, Legand Bauer Text and Lilith. Types that have played- and continue to play- a leading part in the transformation that is taking place in American Typography today. [Between 1937-1943] Bauer types have always been conceived and created primarily for advertising use. That they have been eagerly seized upon by book publishers and fine printers in every field an added tribute to their unusual excellence. To achieve types of supreme distinction we [the foundry] have sought out the finest living craftsmen, wherever they may be found- and have secured their best designs. This is half the secret of the success of Bauer types. The rest of it is a matter of the meticulous care and skill born of generations of tradition and experience, with which we translate their designs into type metal.” (Campbell)

The Bauer Type Foundry was the lead in type design in Germany during the 1930s. The foundry housed some of the most important typographers of all time. Some of which designed faces that includes “Futura, Beton, Traftan Script, Corvinus, Gillies Gothic, Cartoon, Legand Bauer Text and Lilith. Types that have played- and continue to play- a leading part in the transformation that is taking place in American Typography today. [Between 1937-1943] Bauer types have always been conceived and created primarily for advertising use. That they have been eagerly seized upon by book publishers and fine printers in every field an added tribute to their unusual excellence. To achieve types of supreme distinction we [the foundry] have sought out the finest living craftsmen, wherever they may be found- and have secured their best designs. This is half the secret of the success of Bauer types. The rest of it is a matter of the meticulous care and skill born of generations of tradition and experience, with which we translate their designs into type metal.” (Campbell)

Heinrich Jost (1889-1945) Designed typefaces for the Bauer type foundry in Frankfurt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved to Munich where her studied book production at the Kunstgewerberchule in Munich under Paul Renner, typographer who designed futura, and Emil Preetorius. “After leaving he worked for a daily paper and various Munich Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

Heinrich Jost (1889-1945) Designed typefaces for the Bauer type foundry in Frankfurt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved to Munich where her studied book production at the Kunstgewerberchule in Munich under Paul Renner, typographer who designed futura, and Emil Preetorius. “After leaving he worked for a daily paper and various Munich Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

3


Flush Left 8 pt. cap height with 13 pt. leading

Flush Left, 8 pt. cap height with 15 pt. leading

The Bauer Type Foundry was the lead in type design in Germany during the 1930s.

The Bauer Type Foundry was the lead in type design in Germany during the 1930s.

The foundry housed some of the most important typographers of all time. Some of

The foundry housed some of the most important typographers of all time. Some of

which designed faces that includes “Futura, Beton, Traftan Script, Corvinus, Gillies

which designed faces that includes “Futura, Beton, Traftan Script, Corvinus, Gillies

Gothic, Cartoon, Legand Bauer Text and Lilith. Types that have played- and continue to play- a leading part in the transformation that is taking place in American Typography today. [Between 1937-1943] Bauer types have always been conceived

Gothic, Cartoon, Legand Bauer Text and Lilith. Types that have played - and continue to play - a leading part in the transformation that is taking place in American

and created primarily for advertising use. That they have been eagerly seized upon

Typography today. [Between 1937-1943] Bauer types have always been conceived

by book publishers and fine printers in every field an added tribute to their unusual

and created primarily for advertising use. That they have been eagerly seized upon

excellence. To achieve types of supreme distinction we [the foundry] have sought out

by book publishers and fine printers in every field an added tribute to their unusual

the finest living craftsmen, wherever they may be found- and have secured their best

excellence. To achieve types of supreme distinction we [the foundry] have sought out

designs. This is half the secret of the success of Bauer types. The rest of it is a matter of the meticulous care and skill born of generations of tradition and experience, with which we translate their designs into type metal.” (Campbell) Heinrich Jost (1889-1945) Designed typefaces for the Bauer type foundry in Frankfurt;

the finest living craftsmen, wherever they may be found- and have secured their best designs. This is half the secret of the success of Bauer types. The rest of it is a matter of the meticulous care and skill born of generations of tradition and experience, with which we translate their designs into type metal.” (Campbell)

which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved to Munich where her studied book production at the Kunstgewer-

Heinrich Jost (1889-1945) Designed typefaces for the Bauer type foundry in Frankfurt;

berchule in Munich under Paul Renner, typographer who designed futura, and Emil

which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in

Preetorius. “After leaving he worked for a daily paper and various Munich Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

1908 he moved to Munich where her studied book production at the Kunstgewerberchule in Munich under Paul Renner, typographer who designed futura, and Emil Preetorius. “After leaving he worked for a daily paper and various Munich Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

4


Flush Left, 8 pt. cap height with 17 pt. leading

Flush Left, 8 pt. cap height with 19 pt. leading

The Bauer Type Foundry was the lead in type design in Germany during the 1930s.

The Bauer Type Foundry was the lead in type design in Germany during the 1930s.

The foundry housed some of the most important typographers of all time. Some of

The foundry housed some of the most important typographers of all time. Some of

which designed faces that includes “Futura, Beton, Traftan Script, Corvinus, Gillies

which designed faces that includes “Futura, Beton, Traftan Script, Corvinus, Gillies

Gothic, Cartoon, Legand Bauer Text and Lilith. Types that have played- and continue to play- a leading part in the transformation that is taking place in American Typography today. [Between 1937-1943] Bauer types have always been conceived and created primarily for advertising use. That they have been eagerly seized upon by book publishers and fine printers in every field an added tribute to their unusual

Gothic, Cartoon, Legand Bauer Text and Lilith. Types that have played- and continue to play- a leading part in the transformation that is taking place in American Typography today. [Between 1937-1943] Bauer types have always been conceived and created primarily for advertising use. That they have been eagerly seized upon

excellence. To achieve types of supreme distinction we [the foundry] have sought out

by book publishers and fine printers in every field an added tribute to their unusual

the finest living craftsmen, wherever they may be found- and have secured their best

excellence. To achieve types of supreme distinction we [the foundry] have sought out

designs. This is half the secret of the success of Bauer types. The rest of it is a matter

the finest living craftsmen, wherever they may be found- and have secured their best

of the meticulous care and skill born of generations of tradition and experience, with

designs. This is half the secret of the success of Bauer types. The rest of it is a matter

which we translate their designs into type metal.” (Campbell)

of the meticulous care and skill born of generations of tradition and experience, with which we translate their designs into type metal.” (Campbell)

Heinrich Jost (1889-1945) Designed typefaces for the Bauer type foundry in Frankfurt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved to Munich where her studied book production at the Kunstgewer-

Heinrich Jost (1889-1945) Designed typefaces for the Bauer type foundry in Frankfurt;

berchule in Munich under Paul Renner, typographer who designed futura, and Emil

which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in

Preetorius. “After leaving he worked for a daily paper and various Munich Publishers

1908 he moved to Munich where her studied book production at the Kunstgewer-

before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted

berchule in Munich under Paul Renner, typographer who designed futura, and Emil

as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

Preetorius. “After leaving he worked for a daily paper and various Munich Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

5


Flush Left, 9 pt. cap height with 11 pt. leading

Flush Left, 9 pt. cap height with 13 pt. leading

The Bauer Type Foundry was the lead in type design in Germany during the 1930s. The foundry housed some of the most important typographers of all time. Some of which designed faces that includes “Futura, Beton, Traftan Script, Corvinus, Gillies Gothic, Cartoon, Legand Bauer Text and Lilith. Types that have played- and continue to play- a leading part in the transformation that is taking place in American Typography today. [Between 1937-1943] Bauer types have always been conceived and created primarily for advertising use. That they have been eagerly seized upon by book publishers and fine printers in every field an added tribute to their unusual excellence. To achieve types of supreme distinction we [the foundry] have sought out the finest living craftsmen, wherever they may be found and have secured their best designs. This is half the secret of the success of Bauer types. The rest of it is a matter of the meticulous care and skill born of generations of tradition and experience, with which we translate their designs into type metal.” (Campbell)

The Bauer Type Foundry was the lead in type design in Germany during the 1930s. The foundry housed some of the most important typographers of all time. Some of which designed faces that includes “Futura, Beton, Traftan Script, Corvinus, Gillies Gothic, Cartoon, Legand Bauer Text and Lilith. Types that have played- and continue to play- a leading part in the transformation that is taking place in American Typography today. [Between 1937-1943] Bauer types have always been conceived and created primarily for advertising use. That they have been eagerly seized upon by book publishers and fine printers in every field an added tribute to their unusual excellence. To achieve types of supreme distinction we [the foundry] have sought out the finest living craftsmen, wherever they may be found and have secured their best designs. This is half the secret of the success of Bauer types. The rest of it is a matter of the meticulous care and skill born of generations of tradition and experience, with which we translate their designs into type metal.” (Campbell)

Heinrich Jost (1889-1945) Designed typefaces for the Bauer type foundry in Frankfurt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved to Munich where her studied book production at the Kunstgewerberchule in Munich under Paul Renner, typographer who designed futura, and Emil Preetorius. “After leaving he worked for a daily paper and various Munich Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

Heinrich Jost (1889-1945) Designed typefaces for the Bauer type foundry in Frankfurt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved to Munich where her studied book production at the Kunstgewerberchule in Munich under Paul Renner, typographer who designed futura, and Emil Preetorius. “After leaving he worked for a daily paper and various Munich Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

6


Flush Left, 9 pt. cap height with 15 pt. leading

Flush Left, 9 pt. cap height with 17 pt. leading

The Bauer Type Foundry was the lead in type design in Germany during the 1930s.

The Bauer Type Foundry was the lead in type design in Germany during the 1930s.

The foundry housed some of the most important typographers of all time. Some of

The foundry housed some of the most important typographers of all time. Some of

which designed faces that includes “Futura, Beton, Traftan Script, Corvinus, Gillies

which designed faces that includes “Futura, Beton, Traftan Script, Corvinus, Gillies

Gothic, Cartoon, Legand Bauer Text and Lilith. Types that have played- and continue to play- a leading part in the transformation that is taking place in American Typography today. [Between 1937-1943] Bauer types have always been conceived and created primarily for advertising use. That they have been eagerly seized upon

Gothic, Cartoon, Legand Bauer Text and Lilith. Types that have played- and continue to play- a leading part in the transformation that is taking place in American Typography today. [Between 1937-1943] Bauer types have always been conceived

by book publishers and fine printers in every field an added tribute to their unusual

and created primarily for advertising use. That they have been eagerly seized upon

excellence. To achieve types of supreme distinction we [the foundry] have sought

by book publishers and fine printers in every field an added tribute to their unusual

out the finest living craftsmen, wherever they may be found and have secured their

excellence. To achieve types of supreme distinction we [the foundry] have sought

best designs. This is half the secret of the success of Bauer types. The rest of it is a

out the finest living craftsmen, wherever they may be found and have secured their

matter of the meticulous care and skill born of generations of tradition and experience, with which we translate their designs into type metal.” (Campbell) Heinrich Jost (1889-1945) Designed typefaces for the Bauer type foundry in Frank-

best designs. This is half the secret of the success of Bauer types. The rest of it is a matter of the meticulous care and skill born of generations of tradition and experience, with which we translate their designs into type metal.” (Campbell)

furt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved to Munich where her studied book production at the Kun-

Heinrich Jost (1889-1945) Designed typefaces for the Bauer type foundry in Frank-

stgewerberchule in Munich under Paul Renner, typographer who designed futura,

furt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller,

and Emil Preetorius. “After leaving he worked for a daily paper and various Munich

and in 1908 he moved to Munich where her studied book production at the Kun-

Publishers before being invited to Bauer by George Hartmann” (Macmillan 116)

stgewerberchule in Munich under Paul Renner, typographer who designed futura,

Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

and Emil Preetorius. “After leaving he worked for a daily paper and various Munich Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

7


Flush Left, 9 pt. cap height with 19 pt. leading

Flush Left, 9 pt. cap height with 21 pt. leading

The Bauer Type Foundry was the lead in type design in Germany during the 1930s.

The Bauer Type Foundry was the lead in type design in Germany during the 1930s.

The foundry housed some of the most important typographers of all time. Some of

The foundry housed some of the most important typographers of all time. Some of

which designed faces that includes “Futura, Beton, Traftan Script, Corvinus, Gillies

which designed faces that includes “Futura, Beton, Traftan Script, Corvinus, Gillies

Gothic, Cartoon, Legand Bauer Text and Lilith. Types that have played- and continue to play- a leading part in the transformation that is taking place in American Typography today. [Between 1937-1943] Bauer types have always been conceived and created primarily for advertising use. That they have been eagerly seized upon by book publishers and fine printers in every field an added tribute to their unusual excellence. To achieve types of supreme distinction we [the foundry] have sought

Gothic, Cartoon, Legand Bauer Text and Lilith. Types that have played- and continue to play- a leading part in the transformation that is taking place in American Typography today. [Between 1937-1943] Bauer types have always been conceived and created primarily for advertising use. That they have been eagerly seized upon by book publishers and fine printers in every field an added tribute to their unusual

out the finest living craftsmen, wherever they may be found and have secured their

excellence. To achieve types of supreme distinction we [the foundry] have sought

best designs. This is half the secret of the success of Bauer types. The rest of it is a

out the finest living craftsmen, wherever they may be found and have secured their

matter of the meticulous care and skill born of generations of tradition and experi-

best designs. This is half the secret of the success of Bauer types. The rest of it is a

ence, with which we translate their designs into type metal.” (Campbell)

matter of the meticulous care and skill born of generations of tradition and experience, with which we translate their designs into type metal.” (Campbell)

Heinrich Jost (1889-1945) Designed typefaces for the Bauer type foundry in Frankfurt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved to Munich where her studied book production at the Kunstgewerberchule in Munich under Paul Renner, typographer who designed futura, and Emil Preetorius. “After leaving he worked for a daily paper and various Munich

Heinrich Jost (1889-1945) Designed typefaces for the Bauer type foundry in Frankfurt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved to Munich where her studied book production at the

Publishers before being invited to Bauer by George Hartmann” (Macmillan 116)

Kunstgewerberchule in Munich under Paul Renner, typographer who designed

Where he acted as the art director of the Bauer Type foundry in Frankfurt

futura, and Emil Preetorius. “AfteR leaving he worked for a daily paper and various

during 1923-48.

Munich Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

8


Flush Left, 9 pt. cap height with 23 pt. leading

Flush Left, 9 pt. cap height with 25 pt. leading

The Bauer Type Foundry was the lead in type design in Germany during the 1930s.

The Bauer Type Foundry was the lead in type design in Germany during the 1930s.

The foundry housed some of the most important typographers of all time. Some

The foundry housed some of the most important typographers of all time. Some of

of which designed faces that includes “Futura, Beton, Traftan Script, Corvinus,

which designed faces that includes “Futura, Beton, Traftan Script, Corvinus, Gillies

Gillies Gothic, Cartoon, Legand Bauer Text and Lilith. Types that have playedand continue to play- a leading part in the transformation that is taking place in American Typography today. [Between 1937-1943] Bauer types have always been

Gothic, Cartoon, Legand Bauer Text and Lilith. Types that have played- and continue to play- a leading part in the transformation that is taking place in American Typography today. [Between 1937-1943] Bauer types have always been conceived

conceived and created primarily for advertising use. That they have been eagerly and created primarily for advertising use. That they have been eagerly seized upon seized upon by book publishers and fine printers in every field an added tribute to their unusual excellence. To achieve types of supreme distinction we [the foundry] have sought out the finest living craftsmen, wherever they may be found and have secured their best designs. This is half the secret of the success of Bauer types. The

by book publishers and fine printers in every field an added tribute to their unusual excellence. To achieve types of supreme distinction we [the foundry] have sought out the finest living craftsmen, wherever they may be found and have secured their

rest of it is a matter of the meticulous care and skill born of generations of tradition

best designs. This is half the secret of the success of Bauer types. The rest of it is a

and experience, with which we translate their designs into type metal.” (Campbell)

matter of the meticulous care and skill born of generations of tradition and experience, with which we translate their designs into type metal.” (Campbell)

Heinrich Jost (1889-1945) Designed typefaces for the Bauer type foundry in Frankfurt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved to Munich where her studied book production at the Kunstgewerberchule in Munich under Paul Renner, typographer who designed futura,

Heinrich Jost (1889-1945) Designed typefaces for the Bauer type foundry in Frankfurt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved To Munich where her studied book production at the Kun-

and Emil Preetorius. “After leaving he worked for a daily paper and various Munich stgewerberchule in Munich under Paul Renner, typographer who designed futura, Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

and Emil Preetorius. “After leaving he worked for a daily paper and various Munich Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

9


Beton

Heinrich Jost (1889-1945) designed typefaces for the Bauer type foundry in Frankfurt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved to Munich where he studied book production at the Kunstgewerberchule in Munich under Paul Renner, typographer who designed futura, and Emil Preetorius. “After leaving he worked for a daily paper and various Munich Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48. Beton was finally released in 1937, and it was the modernized version of slab-serifs in the 1930s, and was considered the default slab-serif for designer, somewhat like Helvetica today. It works great for ‘period looking’ designs, since designers were mimicking the Victorian style. (Loxley 66)

By the 20th Century, the typographic establishment had begun to tame, categorize, and codify 19th Century type styles. It was in the wake of this environment that Jost developed Beton. (MyFonts.com)

Beton was the mostly used in advertising as a display face. at that time slab-serifs were considered modern, because of their industrial appearance as well as their distance from the hand drawn look. Their popularity depended on the growth of newspapers as well as the advertising markets. Slab-serifs were bold and easy to read from a distance, which was great to show off a product, or attracting readers by blowing up a headline. (Lawson 320)

10


By the 20th Century, the typographic establishment had begun to tame, categorize, and codify 19th Century type styles. It was in the wake of this environment that Jost developed Beton.

Beton Heinrich Jost (1889-1945) designed typefaces for the Bauer type foundry in Frankfurt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved to Munich where he studied book production at the Kunstgewerberchule in Munich under Paul Renner, typographer who designed futura, and Emil Preetorius. “After leaving he worked for a daily paper and various Munich Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

Beton was finally released in 1937, and it was the modernized version of slab-serifs in the 1930s, and was considered the default slab-serif for designer, somewhat like Helvetica today. It works great for ‘period looking’ designs, since designers were mimicking the Victorian style. (Loxley 66) Beton was the mostly used in advertising as a display face. It was following the worldwide trend of reviving 19th century fonts, which was started by German type designer Rudolf Wolf who designed Memphis, a slab-serif, in 1929. Slab

(MyFonts.com)

serifs are “heavy mono-line (having a uniform stroke width), with thick square-ended serifs.” (Loxley 65) at that time slab-serifs were considered modern, because of their industrial appearance as well as their distance from the hand drawn look. Their popularity depended on the growth of newspapers as well as the advertising markets. Slab-serifs were bold and easy to read from a distance, which was great to show off a product, or attracting readers by blowing up a headline. (Lawson 320)

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Heinrich Jost designed typefaces

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Beton

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Beton was the mostly used in advertising as a display face. It was following the worldwide trend of reviving 19th century fonts, which was started by German type designer Rudolf Wolf who designed Memphis, a slab-serif, in 1929. Slab serifs are “heavy mono-line (having a uniform stroke width), with thick square-ended serifs.” (Loxley 65) at that time slab-serifs were considered modern, because of their industrial appearance as well as their distance from the hand drawn look. Their popularity depended on the growth of newspapers as well as the advertising markets. Slab-serifs were bold and easy to read from a distance, which was great to show off a product, or attracting readers by blowing up a headline. (Lawson 320)

“heavy mono-line (having a uniform stroke width), with thick square-ended serifs.”

Heinrich Jost (1889-1945) designed typefaces for the Bauer type foundry in Frankfurt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved to Munich where he studied book production at the Kunstgewerberchule in Munich under Paul Renner, typographer who designed futura, and Emil Preetorius. “After leaving he worked for a daily paper and various Munich Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48.

Bauer type foundry

e h t n i s f i r e s b a l s f o n o i s r e v d e z i modern


Beton

Heinrich Jost (1889-1945) designed typefaces for the Bauer type foundry in Frankfurt; which includes Beton, Bauer Bodoni, and Atrax. Jost trained as a bookseller, and in 1908 he moved to Munich where he studied book production at the Kunstgewerberchule in Munich under Paul Renner, typographer who designed futura, and Emil Preetorius. “After leaving he worked for a daily paper and various Munich Publishers before being invited to Bauer by George Hartmann” (Macmillan 116) Where he acted as the art director of the Bauer Type foundry in Frankfurt during 1923-48. Beton was finally released in 1937, and it was the modernized version of slab-serifs in the 1930s, and was considered the default slab-serif for designer, somewhat like Helvetica today. It works great for ‘period looking’ designs, since designers were mimicking the Victorian style. (Loxley 66)

By the 20th Century, the typographic establishment had begun to tame, categorize, and codify 19th Century type styles. It was in the wake of this environment that Jost developed Beton. (MyFonts.com)

Beton was the mostly used in advertising as a display face. at that time slab-serifs were considered modern, because of their industrial appearance as well as their distance from the hand drawn look. Their popularity depended on the growth of newspapers as well as the advertising markets. Slab-serifs were bold and easy to read from a distance, which was great to show off a product, or attracting readers by blowing up a headline. (Lawson 320)

Beton Process Book  

Designer: Noha Khashoggi Assignment: Typographer poster and process package Class: Typography I Instructor: Francheska Guerrero

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