typography Final

POR T FO LIO GRAPHIC DESIGN

A L LY S O N K I M | T Y P O G R A P H Y | W I N T E R

0 10 18 24 LO 28 TYPO 32 UBIQUITO 66 POPS! 72 FONTS 77

TA B L E O F C O N T E N T S

LOGOS 06 INTRODUCTION 08 CHARACTER STUDIES 0 SKETCHES TYPOGRAPHICAL TERMS

OGO DESIGN

OGROPHER & MUSEUM

OUS TYPE

TYPOGRAPHY WINTER 2019

MEET THE DESIGNER.

My name is Allyson Kim and I have been intrigued by the art of graphic design since I was young. This ten week course has shone a light on the seemingly unimportant part of this craft; typography. Although often overlooked, typography is one of the most crucial factors of a well crafted graphic design page. This portfolio will prove how different fonts and layouts can come together to create a beautiful aesthetic.

CHAR STU

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RACTER UDIES

ORIGIN OF THE “A”

N

o one knows why ‘A’ is the first letter of our alphabet. Some think it’s because this letter represents one of the most common vowel sounds in ancient languages of the western hemisphere. Other sources argue against this theory because there were no vowel sounds in the Phoenician language. (The Phoenician alphabet is generally thought to be the basis of the one we use today.)

No one also knows why the ‘A’ looks the way it does, but we can construct a fairly logical chain of events.

EVOLUTION OF THE A

About Caslon William Caslon (1693 – 23 January 1766), also known as William Caslon I, was an English gunsmith and designer of typefaces. He was born at Cradley, Worcestershire, and in 1716 started business in London as an engraver of gun locks and barrels, and as a bookbinder's tool cutter. Having contact with printers, he was induced to fit up a type foundry, largely through the encouragement of William Bowyer.

ORIGIN OF THE “!”

G

raphically the exclamation mark is represented as a full stop point with a vertical line

above. One theory of its origin is that it is derived from a Latin exclamation of joy. The modern graphical representation is believed to have been born in the Middle Ages. Medieval copyists wrote the Latin word io at the end of a sentence to indicate joy. The word io meant “hurray”. Over time, the i moved above the o, and the o became smaller, becoming a point.

The exclamation mark was first introduced into English printing in the 15th century to show emphasis, and was called the “sign of admiration or exclamation” or the “note of admiration” until the mid-17th century; admiration referred to its Latin sense of wonderment.

About ATHELAS

Athelas is a serif typeface designed by Veronika Burian and Jose Scaglione and intended for use in body text. Released by the company TypeTogether in 2008, Burian and Scaglione described Athelas as inspired by British fine book printing.

Athelas is included as a system font in Apple’s macOS operating system and as a default font in its iBooks e-books application.It won joint first prize for best Latin-alphabet body text face at the Granshan International Type Design Competition in 2008. It is named after a healing herb in Tolkien’s The Lord of the Rings. Cyrillic characters were later added to the font family, designed by Tom Grace, and monotonic Greek characters designed by Irene Vlachou.

ORIGIN OF THE “Z”

T

he twenty-sixth letter of our

alphabet was the seventh letter in the Semitic alphabet.

They called the letter “za” (pronounced “zag”) and drew it as a stylized dagger. The Phoenicians used roughly the same graphic sign, which they called “zayin” and which also meant a dagger or weapon. A similar symbol turns up in various other cultures, all having the same meaning.

Around 1000 B.C. the Phoenician zayin became the Greek “zeta.” The Greek character looked more like a dagger than the zayin did, but it didn’t bear much resemblance to the Z we currently use. In fact, it looked a lot like our present capital I (especially as set in ITC Lubalin Graph, or another slab serif typeface).

HISTORY OF THE Z

About Rockwell Rockwell is at its core, simple geometry. It is almost entirely composed of circles, straight lines and right angles. Rockwell is a wonderful example of how some Slab Serifs have an inviting warmth even when they should feel cold and rigid. In addition to this, Rockwell can also be very playful which is an interesting characteristic that is fairly commons with geometric typefaces. So how is it possible that a typeface can feel scientific yet playful, retro yet contemporary and sharp yet warm? Welcome to the magic of Rockwell.

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SKETCH

HES

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T YPOGRA TER

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APHICAL RMS

Terms Illustrated F

BLACKLETTER

DROP CAP

SERIF

EGYPTIAN FONT

The Blackletter typeface (also sometimes referred to as Gothic, Fraktur or Old English) was used in the Guthenburg Bible, one of the first books printed in Europe. This style of typeface is recognizable by its dramatic thin and thick strokes, and in some fonts, the elaborate swirls on the serifs.

For centuries, drop caps have been a focus of what are today known as book designers.

There were two main uses of that initial capital. The decorative one, which would add meanings by mixing letters, colors and illustrations; the brain-friendly one, which would help readers to break the text in different parts.

A serif is a small line or stroke regularly attached to the end of a larger stroke in a letter or symbol within a particular font or family of fonts. Serifs originated in the Latin alphabet with inscriptional lettering words carved into stone in Roman antiquity.

In typography, a slab serif (also called mechanistic, square serif, antique or Egyptian) typeface is a type of serif typeface characterized by thick, block-like serifs.[1][2] Serif terminals may be either blunt and angular (Rockwell), or rounded (Courier). Slab serifs were invented in and most popular during the nineteenth century.

HAIRLINE RULE In typography, a very thin rule line typically less than one-half point wide. On some output devices, the hairline rule is as thin as the smallest printer spot the device can image. On 600 ppi laser printers, the hairline rule is effective; however, on high-resolution (2400+ ppi) imagesetters, it can be essentially invisible.

TRACKING In typography, letter-spacing, also referred to as tracking by typographers working with pre-WYSIWYG digital systems, refers to an optically consistent degree of increase (or sometimes decrease) of space between letters to affect visual density in a line or block of text.

DISPLAY TYPE A display typeface is a typeface that is intended for use at large sizes for headings, rather than for extended passages of body text. Display typefaces will often have more eccentric and variable designs than the simple, relatively restrained typefaces generally used for body text.

DECORATIVE Script fonts, fonts with extreme features such as swashes or exaggerated serifs, and any fonts designed to be used at larger than body copy sizes can be described as decorative type.

Also referred to as display type, decorative fonts are typically used for titles and headlines

DIDONE

DISTRESSED

AMPERSAND

RAISED CAP

Didone typefaces (also referred to as Neoclassical and Modern) enjoyed great popularity from the late 18th through the 19th centuries. The term Didone is a melding of Didot and Bodoni, the two most characteristic typeface designs of this era.

Distressed fonts have small details, and the faults that relief printing creates. You just can’t beat the look of real printed type. This type face has the feeling of having a personality through the lettering.

The ampersand is the logogram &, representing the conjunction “and”. It originated as a ligature of the letters et— Latin for “and.”

Raised initials are the easiest to set – just align the baseline of the initial with the first line of text copy. Sometimes the copy to the right of the initial letter needs to be kerned to the left to ensure that the first word is read properly.

REVERSED

WOOD TYPE Darius Wells of New York invented the means for mass producing letters in 1827, and published the first known wood type catalog in 1828. In the preface to his first wood type catalog, Wells outlined the advantages of wood type.

A reverse-contrast letterform is a typeface or custom lettering in which the stress is reversed from the norm: instead of the vertical lines being the same width or thicker than horizontals, which is normal in Latin-alphabet writing and especially printing, the horizontal lines are the thickest.[5] [6][7] The result is a dramatic effect, in which the letters seem to have been printed the wrong

FRACTION A fraction represents a part of a whole or, more generally, any number of equal parts. When spoken in everyday English, a fraction describes how many parts of a certain size there are, for example, one-half, eightfifths, three-quarters.

CURSIVE DINGBAT In typography, a dingbat is an ornament, character, or spacer used in typesetting, often employed for the creation of box frames. The term continues to be used in the computer industry to describe fonts that have symbols and shapes in the positions.

CALLIGRAPHRY Calligraphy is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, brush, or other writing instruments. A contemporary calligraphic practice.

Cursive (also known as script or longhand, among other names[a]) is any style of penmanship in which some characters are written joined together in a flowing manner, generally for the purpose of making writing faster. Formal cursive is generally joined, but casual cursive is a combination of joins and pen lifts.

LIGATURE n writing and typography, a ligature occurs where two or more graphemes or letters are joined as a single glyph. An example is the character æ as used in English, in which the letters a and e are joined. The common ampersand developed from a ligature in which the handwritten Latin letters e and t were combined.

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LOG DESIG

O GN

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TYPOGR & MUSEUM

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RAPHER & M REPORT

by : Allyson Kim

1970’s - current

what is...

P

ostmodernism is best understood by defining the modernist ethos it replaced that of the avant-garde who were active from 1860s to the 1950s. The various artists in the modern period were driven by a radical and forward thinking approach, ideas of technological positivity, and grand narratives of Western domination and progress. The arrival of Neo-Dada and Pop art in post-war America marked the beginning of a reaction against this mindset that came to be known as postmodernism. The reaction took on multiple artistic forms for the next four decades, including Conceptual art, Minimalism, Video art, Performance art, and Installation art. These movements are diverse and disparate but connected by certain characteristics: ironical and playful treatment of a fragmented subject, the breakdown of high and low culture hierarchies, undermining of concepts of authenticity and originality, and an emphasis on image and spectacle. Beyond these larger movements, many artists and less pronounced tendencies continue in the postmodern vein to this day.

POST MO FON

ODERNISM NTS

w i m c r o u w e l : THE

Wim Crouwel, born in Groningen (the Netherlands) in 1928 is a remarkable and inspiring figure with an inventive spirit and vision, vigorous and always distinguished.* He designed his first poster in 1952. After leaving artschool he became a painter leaning towards Expressionism, but as he designed this first poster he discovered the pleasure of organising visual information in an aesthetical context.

Dr. Harald Szeemann in ‘Kunst+design Wim Crouwel Preisträger der stankowskistiftung 1991 The contrast between Crouwel

as a lyrical expressionist painter and objectivating functionalist designer couldn’t be more extreme. As a designer he felt related to the Bauhaus ideas, the swissinspired international style. He was fascinated by the rational aspect in Bauhaus typography, which he discovered through Karl Gerstner’s and Gerard Ifert’s work.

Although his ideas were bauhaus-related, unlike many Crouwel was not a dogmatist.

He was fascinated by the ideas about serial and mass production, as he stated “we need the machine since we have no time”. But he

also believed “the machine cannot replace the precision of the human eye and human feeling”.* Crouwel’s work has always consisted of these two essential elements: the emotional aspect and the rational one. The task of the designer consists of analysing the design project and solve the problems he distilled in an objective way. The message and the way it should be presented flows out of this process. Graphic design is a wide field in which Crouwel mainly focussed on type. He works quite constructive, constructs type, and works on grids. Crouwel is especially

NEW ALPHABET

admired for his systematic approach and his creative handling of the shape of letters. His work was influenced by the pre-war Werkmann and post-war Sandberg, an individualistic generation of typographers who dared to juggle with letters.

In 1954 Crouwel designed the catalogues and posters for the Van Abbe Museum. He took the position that the design of a catalogue or poster must not be an interpretation of the artist’s ideas. It should merely provide relevant information to the reader, without ornaments or styling as this would only lead to confusion. The

catalogue should not refer to the artist as an individual, but to the museum and its range of activities. The development of the programme as a whole is more important than creating the best poster ever for each new project.

Eduard de Wilde, Director of the Van Abbe Museum at the time Crouwel was asked for this task, remembers he found himself in an ambiguous situation. “Crouwels’s position of subjecting highly different appearances of art under the same typographic style would not be acceptable to some artists.

But i also had to appreciate that transferring most different artistic trends and temperaments into typography might lead to a typographic chaos.” Crouwel is a modernist and impressed by a typeface like Helvetica, which was more neutral than any other typeface.

“A face shouldn’t have a meaning in itself, the meaning should be in the content of the text.”

In his work Crouwel chose sans-serif faces that allowed numerous combinations,

like Gill and Universe. The essential information was set in one returning typeface and the title of the exhibition slightly reflected the feel of the exhibition.

He looked at the work of the artist, got an impression and tried to translate it typographically. An example of this way of working is found in the exhibition about Leger. Leger’s work could be recognized by its heavy lines around the images. This influenced him to create the word Leger with thick black lines so it would dominate the poster.

Crouwel always searched for the abstract, something that would strike the eye. Crouwel is a modernist and impressed by a typeface like Helvetica, which was more neutral than any other typeface.

“A face shouldn’t have a meaning in itself, the meaning should be in the content of the text.” In his work Crouwel chose sans-serif faces that allowed numerous combinations, like Gill and Universe.

The essential information was set in one returning typeface and the title of the exhibition slightly reflected the feel of the exhibition. He looked at the work of the artist, got an impression and tried to translate it typographically. An example of this way of working is found in the Leger exhibition.

i n t r o d u c i n g

ANDY WARHOL

A

ndy Warhol famously appropriated familiar images from consumer culture and mass media, among them celebrity and tabloid news photographs, comic strips, and, in this work, the widely consumed canned soup made by the Campbell’s Soup Company. When he first exhibited Campbell’s Soup Cans in 1962, the canvases were displayed together on shelves, like products in a grocery aisle.

At the time, Campbell’s sold 32 soup varieties; each one of Warhol’s 32 canvases corresponds to a different flavor.

(The first flavor the company introduced, in 1897, was tomato).

Though Campbell’s Soup Cans resembles the mass-produced, printed advertisements by

which Warhol was inspired, its canvases are hand-painted, and the fleur de lys pattern ringing each can’s bottom edge is hand-stamped. Warhol mimicked the repetition and uniformity of advertising by carefully reproducing the same image across each individual canvas. He varied only the label on the front of each can, distinguishing them by their variety. Warhol said of Campbell’s soup,

“I used to drink it.

I used to have the same lunch every day, for 20 years, the same thing over and over again.”

Towards the end of 1962, shortly after he completed Campbell’s Soup Cans, Warhol turned to the photo-silkscreen process. A printmaking technique originally invented for commercial use, it would become his signature medium and link his art making methods more closely to those of advertisements. “I don’t think art should be only for the select few,” he claimed, “I think it should be for the mass of the American people.”

POST MOD POST

DERNISM TERS

banksy:

N

ot a great deal is known of Banksy other than his stencilled work which appears spray painted on walls all over the world. He doesn’t want to be known to the public which intensifies the appeal to his work for many.

Banksy started graffiti painting when he was 13 – 14 years old and started stencilling because he was slow at painting free hand, he says stencilling is good because you can create a detailed painting in 30 seconds then get out before your caught.

Banksy is believed to be born in 1974 and brought up in Bristol although none of this can be properly confirmed, he has made few

interviews and when he does its through distorted voice tapes making it unclear as to who he really is.

He is influenced by the world and his paintings are always highly politically motivated, he stencilled on the wall in the west bank with ladders and a young girl with helium balloons. Other controversial work can be found in Disney land where he had a guantanamo bay detainee mocked up.

He continues to remain anonymous with more and more people becoming fasinated with his work, unsurprisingly his work sells for thousands with celebrities like brad pit forking out top dollar for a piece of Banksy.

Banksy has no interest in becoming known to the public, he in my view is a true graffiti artist with a voice and strong views that he wants to shared with the public.

You can’t get more Post-modern than Banksy in my view; his work is highly politically motivated and is a rebellion in a way to society, a voice if you like against the government and world governments. He also takes very old famous paintings live Van Gogh’s Sunflowers and repaints them as being dead; in another famous painting of a river Banksy paints re paints the beautiful scene with shopping trolleys and traffic cones in the water symbolising society today.

WIM CROMODERN UWEL THE MUSEUM OF

TYPOGRAPHY

WIM CROUWEL

THE NEW ALPHABET W im Crouwel, born in Groningen (the Netherlands) in 1928 is a remarkable and inspiring figure with an inventive spirit and vision, vigorous and always distinguished.* He designed his first poster in 1952. After leaving artschool he became a painter leaning towards Expressionism, but as he designed this first poster he discovered the pleasure of organising visual information in an aesthetical context.

Dr. Harald Szeemann in ‘Kunst+design Wim Crouwel Preisträger der stankowski-stiftung 1991 The contrast between Crouwel as a lyrical expressionist painter and objectivating functionalist designer couldn’t be more extreme.

As a designer he felt related to the Bauhaus ideas, the swiss-inspired international style. He was fascinated by the rational aspect in Bauhaus typography, which he discovered through Karl Gerstner’s and Gerard Ifert’s work.

Although his ideas were bauhaus-related, unlike many Crouwel was not a dogmatist. He was fascinated by the ideas about serial and mass production, as he stated “we need the machine since we have no time”. But he also believed “the machine cannot replace the precision of the human eye and human feeling”.* Crouwel’s work has always consisted of these two essential elements: the emotional aspect and the rational one. The task of the designer consists of analysing the design project and solve the problems he distilled in an objective way. The message and the way it should be presented flows out of this process. Graphic design is a wide field in which Crouwel mainly focussed on type. He works quite constructive, constructs type, and works on grids. Crouwel is especially admired for his systematic approach and his creative handling of the shape of letters. His work was influenced by the pre-war Werkmann

and post-war Sandberg, an individualistic generation of typographers who dared to juggle with letters.

In 1954 Crouwel designed the catalogues and posters for the Van Abbe Museum. He took the position that the design of a catalogue or poster must not be an interpretation of the artist’s ideas. It should merely provide relevant information to the reader, without ornaments or styling as this would only lead to confusion.

The catalogue should not refer to the artist as an individual, but to the museum and its range of activities. The development of the programme as a whole is more important than creating the best poster ever for each new project.

Eduard de Wilde, Director of the Van Abbe Museum at the time Crouwel was asked for this task, remembers he found himself in an ambiguous situation. “Crouwels’s position of subjecting highly different appearances of art under the same typographic style would not be acceptable to some artists.

But i also had to appreciate that transferring most different artistic trends and tem-peraments into typography might lead to a typographic chaos.” Crouwel is a modernist and impressed by a typeface like Helvetica.

wim crouwel wim crouwel wim crouwel wim crouwel wim crouwel wim crouwel

A TYPOGRAPHICAL INTRODUCTION :

T

ype is everywhere; street signs, magazines, the web. Every typeface you see around you has been painstakingly and carefully planned out, and each has its own personality and vibe. But have you ever stopped to wonder how the typefaces we encounter everyday came to be? Who invented them, and why? If you’re interested in learning more about typography, you’ve come to the right place.

TERMINOLOGY EXPLAINED What’s the difference between a typeface and a font? Before you jump in, let’s clarify the terminology used.

Typography is the art of creating the letters we use everyday. It’s designing them and creating them and making

them real. A font is a collection or set of letters – they’re the mechanism you use to get your message across to your reader. Every letter and dash and semi colon would be considered part of a specific font. A typeface is the design you see – the style and look of a specific font.

Throughout history, typefaces have been influenced by technological advances, culture shifts, and just general boredom with the state of typography. Here’s how it all went down:

A BRIEF TYPOG

a

BLACKLETTER

Guttenberg invented movable typefaces, giving the world a cheaper way to obtain the written word. Guttenburg also created the first typeface, blackletter – it was dark, fairly practical, and intense, but not very legible.

B

BASKERVILLE

ITALICS

John Baskerville created what we now call Transitional type, a Roman-style type, with very sharp serifs and lots of drastic contrast between thick and thin lines.

Italics begin to be used as way to fit more words onto a page, saving the printer money.

Today, we use italics as a design detail or for emphasis when writing.

1 4 0 0 1 5 0 1 1 7 5 7 1 1 4 7 0

ROMAN Nicolas Jenson created Roman Type, inspired by the text on ancient roman buildings. It was far more readable than blackletter, and caught on quickly.

1 7 3 4

C

CASLON William Caslon created a typeface which features straighter serifs and much more obvious contrasts between thin and bold strokes. Today, we call this type style ‘old style’.

1 7 8 0

D

D

Firm Giamb crea ‘mo typefa Bodon were than e creat f

GRAPHICAL TIMELINE LIGATURE

EGYPTIAN

In writing and typography, a ligature occurs where two or more graphemes or letters are joines as a single glyph. An example is the character where letters a and e are joined.

Vincent Figgins created Egyptian, or Slab Serif – the first time a typeface had serifs that were squares or boxes.

7 8 0

D

DIDOT

min Didot and battista Bodoni ated the first odern’ Roman aces (Didot, and ni). The contrasts more extreme ever before, and ted a very cool, fresh look.

1920’s

1 8 1 6

1 9 5 7

A

SAN SERIF William Caslon IV created the first typeface without any serifs at all. It was widely rebuked at the time. This was the start of what we now consider Sans Serif typefaces.

During this time, type exploded, and many, many variations were being created to accommodate advertising.

CALLIGRAPHY Calligraphy is a visual art related to writing.

It is the design and execution of lettering with a broad tip instrument, brush, or other writing instruments.

ABOUT THE MUS The Broad is a contemporary art museum founded by philanthropists Eli and Edythe Broad on Grand Avenue in downtown Los Angeles. Designed by Diller Scofidio + Renfro in collaboration with Gensler, the museum offers free general admission and presents an active program of rotating temporary exhibitions and innovative audience engagement. The Broad is home to more than 2,000 works of art in the Broad collection, which is one of the world’s most prominent collections of postwar and contemporary art.

SEUM The 120,000-square-foot building features two floors of gallery space and is the headquarters of The Broad Art Foundation’s worldwide lending library, which has been loaning collection works to museums around the world since 1984. Since opening in September 2015, The Broad has welcomed more than 2.5 million visitors.

Generous support is provided by Leading Partner East West Bank.

ABOUT THE MUSEUM Meow and walk away lounge in doorway mrow fall over dead (not really but gets sypathy) but kitten is playing with dead mouse intently sniff hand. Cat dog hate mouse eat string barf pillow no baths hate everything eat a plant, kill a hand and sleep on keyboard crusty butthole, human give me attention meow. Purr when being pet why must they do that. Where is my slave? I’m getting hungry toy mouse squeak roll over.

Stare at imaginary bug a nice warm laptop for me to sit on fight an alligator and win for pose purrfectly to show my beauty or scream at teh bath. Loved it, hated it, loved it, hated it stares at human while pushing stuff off a table.

Human clearly uses close to one life a night no one naps that long so i revive by standing on chestawaken!

ABOUT THIS BROCHURE:

Gotham.

Garamond.

Coolvetica.

DESIGN BY:

Allyson Kim

21 S Grand Ave, Los Angeles, CA 90012 w w w.t hem useum o f m o der nt y p e.o rg

.

UBIQU TY

...

UITOUS YPE

UBIQUITOUS BY: MILTON GLASER

T

ypography makes at least two kinds of sense, if it makes any sense at all. It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the

study of its visual form are many and widespread. The history of letter forms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is

largely hidden. This book has therefore grown into some-thing more than a short manual of typo-graphic etiquette. It is the fruit of a lot of long walks in the wilderness of letters: in part a

S TYPE pocket field guide to the living wonders that are found there, and in part a meditation on the ecological principles, survival techniques, and ethics that apply.

The principles of typography as I understand them are not a set of dead conventions but the tribal customs of the magic forest, where ancient voices speak from all directions and new ones move to unremembered forms.

One question, nevertheless, has been often in my mind. When all right-thinking human beings are struggling to remember that other men and women are free to be different, and free to become more different still, how can one honestly write a rulebook?

What reason and authority exist for these commandments, suggestions, and instructions?

Surely typographers, like others, ought to be at liberty to follow or to blaze the trails they choose.

THE PRESENCE OF TYPOGRAPHY BOTH GOOD AND BAD, CAN BE SEEN EVERYWHERE.

Typography thrives as a shared concern - and there are no paths at all where there are no

tradition is concealed or left for dead. Originality is everywhere, but much originality is blocked if

shared desires and directions.

A typographer determined to forge new routes must move, like other solitary travellers, through uninhabited country and against the grain of the land, crossing common thoroughfares in the silence before dawn.

The subject of this book is not typographic solitude, but the old, well- travelled roads at the core of the tradition: paths that each of us is free to follow or not, and to enter and leave when we choose - if only we know the paths are there and have a sense of where they lead.

That freedom is denied us if the

the way back to earlier discoveries is cut or overgrown. If you use this book as a guide, by all means leave the road when you wish.

That is precisely the use of a road: to reach individu- ally chosen points of departure. By all means break the rules, and break them beautifully, deliberately, and well.

That is one of the ends for which they exist.

Letterforms change constantly, yet differ very little, because they are alive. The principles of typographic clarity have also scarcely altered since the second half of the fifteenth century, when the first books were printed in

roman type. Indeed, most of the principles of legibility and design explored in this book were known and used by Egyptian scribes writing hieratic script with reed pens on papyrus in 1000 B.C. Samples of their work sit now in museums in Cairo, London and New York, still lively, subtle, and perfectly legible thirty centuries after they were made.

Writing systems vary, but a good page is not hard to learn to recognize, whether it comes from Tang Dynasty China, The Egyptian New Kingdom typographers set for themselves than with the mutable or Renaissance Italy. The principles that unite these distant schools of design are based on the structure and scale of the human body - the eye, the hand, and the forearm in particular - and on the invisible but no less real, no less demanding, no less sensuous

anatomy of the human mind. I don’t like to call these principles universals, because they are largely unique to our species.

Dogs and ants, for example, read and write by more chemical means. But the underlying principles of typography are, at any rate, stable enough to weather any number of human fashions and fads.

“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.”

Typography is the craft of endowing human language with

a durable visual form, and thus with an independent existence.

Its heartwood is calligraphy - the dance, on a tiny stage, of It is true that typographer’s tools are presently changing with considerable force and speed, but this is not a manual in the use of any particular typesetting system or medium. I suppose that most readers of this book will set most of their type in digital form, using computers, but I have no preconceptions about which brands of computers, or which versions of which proprietary software, they may use. The essential elements of style have more to do with the goals the living, speaking hand - and its roots reach into living soil, though its branches may be hung each year with new machines. So long as the root lives, typography remains a source of true delight, true knowledge, true surprise.

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