Franko_Typography 12 REVISED

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Table of

contents Helvetica Neue pages 1, 19, 21 Lavanderia Monaco, Logo Desdemona Ubiquitous Caviar Dreams Ubiquitous, Logo, TOC Times Ubiquitous Helvetica Pa g e 2 1 Gill Sans Snaps Blanch Monaco Bell MT portfolio 2

Ubiquitous

s F

Sharon Franko

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U 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 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

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The presence of ty pography both good

all right-thinking human beings are struggling to remember that other men and women are free to be different,6and 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.Typography thrives as a shared concern - and there are no paths at all where there are no 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 tradition 4 is concealed or left for dead. Originality is

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everywhere, but much if the way back to earli overgrown. If you use by all means leave the That is pre- cisely 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 prin clarity have also scarce second half of the fifte the first books were pri Indeed, most of the pri and design explored in

uitous Type

d and bad, can be seen ever ywhere.

originality is blocked ier discoveries is cut or this book as a guide, road when you wish.

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.

“Typography is the Writing systems vary, but a good is not hard to learn to reccraft of endowing page ognize, whether it comes from human language Tang Dynasty China, The Egyptian New Kingdom typographers with a durable viset for themselves than with the sual form, and thus mutable or Renaissance Italy. The principles that unite these distant with an indepenschools of design are based on the dent existence.” structure and scale of the human body - the eye, the hand, and the forearm in particular - and on the nciples of typographic invisible but no less real, no less demanding, ely altered since the no less sensuous anatomy of the human mind. eenth century, when I don’t like to call these principles universals, inted in roman type. because they are largely unique to our speinciples of legibility cies. Dogs and ants, for example, read and 5 unn this book were known write by more chemical means. But the

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derlying 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. 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.

I love random moments especially running through a sunny day while being so busy as usual

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I’m very into always being happy and doing anything to be happy, even if you have to fake it till you make it. It’s important to me.

I initially had the initials of my boyfriend and me in this scrapbook but I replaced it with this snickers wrapper.

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SNAP W

hen we were first assigned to do the snap project I was very confused. I thought it wouldnt be beneficial to me as a graphic designer in any way possible. But, little did I know! Typography class allowed me to play around with type in ways I never thought of before. I got inspired by my classmates work and saw many results in my work. The snap project taught me to work within certain guidelines. Those guidelines bothered me at first, but it allowed me to be even more open minded and to try things I would originally consider boring, or a waste of time. What I also learned is that there are plenty of people in which we can learn from. Like Noam Chomsky,Yoko Ono, Solmon Rushdie, Saul Bass and more. We can lear from their creativity, life experience, and even ways of life. Overall my snap experience passed by in a snap, but left a very positive imprint on my creative journey here at FIDM.

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snap l a n r u ary jo e 1

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roland young issue six volume 1 noam chomsky solmon rushdie bass yoko ono saul in this issue: itenerary journal

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S n A P L i t e r a r Y J o u r n a L

I n T h i S Y o k O O n O

I s s u E

R o l a n D

N o a M C h o m s k Y

Y o u n G

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V o l u m E 1

S a u L B a s S

snap literary journal

issue six volume 1 in this issue:

saul bass noam chomsky yoko ono roland young solmon rushdie Sharon Franko

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snap ljoiterar urnaly

issue six volume 1 in this issue: yoko ono solmon rushdie saul bass roland young

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s panp issue six volume 1

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in this issue: solmon rushdie saul bass roland young yoko ono

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monaco

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FONT BIO 20

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helvetica

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Helvetica is one of the most popular typefaces of all time. It was designed by Max Miedinger in 1957 for the Haas foundry of Switzerland (the name is derived from Helvetia, the Latin name for Switzerland).

The design is based on the grotesques of the late nineteenth century, but new refinements put it in the sans serif sub-category of neo-grotesque. Shortly after its introduction, the Stempel foundry purchased the original Helvetica typeface and developed a full series of weights.

In the 1960s Helvetica came to the United States, where alignment standards differed; Mergenthaler Linotype copied the Stempel series and then added several new versions of the design. Helvetica is an all-purpose type design that can deliver practically any message clearly and efficiently.

The condensed and compressed Helvetica designs are excellent for display applications such as newspaper or newsletter headlines, billboards, and advertising.

The basic design of Helvetica Rounded is the same as the design of the standard Helvetica typefaces. Designed in 1980, it differs only in the stroke endings, which are rounded rather than squared off. The overall effect of this display type is more playful and friendly than its traditional relative.

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