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TABLE OF CONTENTS COVER... bira and copperplate gothic bold LOGO... arual and futura condensed medium UBIQUITIOUS TYPE... times, modern no.

20, minion, and bakersville SKETCH BOOK... gil sans and moksha SNAP... gil sans MONACO... devanagari sangam MN, futura condensed medium, medium italic, and rocket script TYPE POSTER... futura, condensed medium, medium italic and condensed extra bold

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MICHAEL HILLIER

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gr aphic de sign

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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 is concealed or left for dead.

Originality is everywhere, but much originality is blocked if 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 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,

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 “Typography is the craft of endowing fashions and fads. human language with a durable visual Thus with an independent form, and thus with an independent existence. Its heartwood is calligraphy existence.” deliberately, and well. That is one the dance, on a tiny stage, of. It is true that of the ends for which they exist. typographer’s tools are presently Letterforms change constantly, yet differ changing with considerableforce and very little, because they are alive. The speed, but this is not a manual in the principles of typographic clarity have also use of any particular typesetting scarcely altered since the second half of system or medium. I suppose that most the fifteenth century, when the first books readers of this book will set most of were printed in roman type. Indeed, most their type in digital form, using of the principles of legibility and design computers, but I have no explored in this book were known and preconceptions about which used by Egyptian scribes writing hieratic brands of computers, or which script with reed pens on papyrus in 1000 versions of which proprietary software, B.C. Samples of their work sit now in they may use. The essential elements museums in Cairo, London and New of style have more to do with the goals York, still lively, subtle, and perfectly the living, speaking han and its roots legible thirty centuries after they were reach into living soil, though its made.Writing systems vary, but a branches may be hung each year with good page is not hard to learn to new machines. So long as the root recognize, whether it comes lives, typography remains a source set for themselves than with the of true delight, true knowledge, mutable or Renaissance Italy. The true surprise.

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SKETCHBOOK

LONG LASTING FLAVA!

ALL TIME FAVORITE BRAND HANDS DOWN

I COULD NEVER DO THIS!!

MUST BE TAYLORED UP LOCAL SPOT BOMB FLAVOR OF MINE! 6

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COLLEGE TRANSPORTATION

MOMMA ALWAYS SAID DON’T PLAY WITH FIRE

WHAT’S YOUR ADDICTION?

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nap

Snap is experimenting with type on a page. during the stages of the snap I feel that I grew stronger with my bold creativity. while using small font against huge font, I found that more attractive in my snaps, also more atractive to my viewers. I strongly feel that snap has taught me very well in understanding how to place text on a page.

With these experimentations, snap encourages me to become more creative when it comes to typography.

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snap journal of linguistics volume six issue three in this issue: roland young joseph campbell noam chomsky yoko ono steve jobs

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noam chomsky

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roland young

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roland young

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issue three in this issue noam chomsky joseph campbell steve jobs yoko ono roland young

journal of linguistics

volume six

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snap journal of linguistics issue three

volume six

i n t h i s i s s u e : s t eve j obs noam chom s ky ro l an d yo u n g yoko ono j os eph cam pbel l

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volume six issue three

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in th i s i s s u e : st eve jo b s

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snap snap volume six

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ko ousi nnono jyoko eph pbel young roland yoko ono young yoko ono joseph young campbell an dyoko rol yo an young yoko and yoko young jjoseph ono yoko eph j jos cam ono eph pbel j cam os l campbell eph pbel cam inroland th is s uyou ein : ro snin tglyoko eve j ob ndyoko iognjoseph oam trol hi tos hi sjoseph sand ichom s isjoseph sono ue: s cam ue: ssky tos snoam eve t campbell eve jl obs obs noam noam chom chom sl ky s pbell ky rol young yoko ono j os eph cam pbell ono campbell in this issue: steve jobs noam chomsky roland young ono ono joseph campbell campbell this issue: steve jobs noam chomsky inlat nhidinyoung s you itiroland sin s u e : s t eve j obs noam chom s ky ro n g yo ko o n o j os eph cam pbel l in this issue: steve jobs noam chomsky n h i t s h i i s s s u i s e s : u s e t : eve s t eve j i obs n j t obs hi noam s i noam s s ue: chom s chom t eve s ky s j ky obs noam chomsky in this in issue: this issue: steve jobs steve noam jobs chomsky noam chomsky young yoko ono ono 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y sk ll y o m b es k l l c h m po m b e ky p h a l ms el am c c am y ho pb sk ll n o p ha m k y c k y h e c l l o b s j os sn o msse p b e lo m s b e l a m c a m om be jo ch mp p p b h h o h o o m ca ve njo c j m c m n ep t e voe a m n o c a a m c a b s j o s oa ph : s ktoe n o o p h n o p h j o s n se ky l b u e y:os s k o s e s s e v e s ksyknyo l l jo ms el i s s n gu e j o b y o j o j o b o jsok ys t el l okmoomo b eble l e j o n o pp : h h v y ho pb i s o ui s s e n g o e e m s k l lc a m t h yi s e v o u o n e v ohno u e p b cyco a ma m s t e o o i n l ann dt he : s td yo k oe : s t o mk o cs i scsaomaoumanmg h hcyc u e : y o k o m abme h c y a i n no p p k s g c h n op p e e e m y l h ro i u l a n y u s s h ky l i s s r o n g i s s n gn o t e pb sbd s j oj so s m s esilk y uln k y m bcsa j o s ms el i s o u i s o ub s i nj oesoejloaj on n on o c h o mt hopimb yboeol m s bneolal e pjho n o t h y t h yj o y vv v h dp ho pb s a p r s o o o n h c i n n d i n n de n ot et e o o a m ic c l a nm c s kmb l l tj oe o a am o v s s s a a a h o j e k k k m o m l l c o e : : : m y a ym c ro r:os t ksouseu e y oy os n sneopa prh o a c hepovhe c spuoben o syko l l n os k p hl u e y oi si s u nugn gj o b bj os j o s eb s na m:os te csakimos huonmg p b e b so m j o sbee l io o j c e h o i s s n gi si s y oy o e njo jo h p o m y y e c n oa m i s o ut ht h d d e v oe n o e j n sou e pgt h dm c a t h yi ni n a na n: s t ktoe v o e v b s oi sn j o sui nn oa na h t e va m ho c i n l a n d r or loslu e g ey:os o k o: s t e otj ohkios n o y o b sr onl s e p e :s sn o oskeop o u b yo d y e v s j u y o n i n o u n e ro i s sj o n g j i s oius s n g s s s t gi o l a j o t h iys o u i s i e : u n o kr o e v e o n i sv e ooun o i n a ntdh d y t h s s u y o g y : s t k o n tsht e dk yo d l n i n o i : n roi l a n i n s a n u u e y i o u e l ay o ro t h o l y i s s n g r i s s rnog in and his you is ou l t th d y d ro n i n i lan lan issue three

volume six

journal of linguistics

in this issue: steve jobs noam chomsky roland young yoko ono joseph campbell

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MONACO Poster

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TYPE Poster

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F

A R U T U

F

utura is a geometric sans-serif typeface

Rennerʼs initial design included several

designed in 1927 by Paul Renner. It

geometrically constructed alternative

is based on geometric shapes that

characters and ranging (old-style) figures,

became representative of visual elements

which can be found in the typeface Architype

of the Bauhaus design style of 1919–1933.

Renner.Futura has an appearance of

Commissioned by the Bauer Type Foundry, in

efficiency and forwardness. The typeface

reaction to Ludwig & Mayerʼs seminal Erbar

is derived from simple geometric forms

of 1922, Futura was commercially released in

(near-perfect circles, triangles and squares)

1936. The family was originally cast in Light,

and is based on strokes of near-even weight,

Medium, Bold, and Bold Oblique fonts in

which are low in contrast. This is most visible

1928. Light Oblique, Medium Oblique,

in the almost perfectly round stroke of the o,

Demibold, and Demibold Oblique fonts were

which is nonetheless slightly ovoid. In

later released in 1930. Book font was

designing Futura, Renner avoided the

released in 1932. Book Oblique font was

decorative, eliminating non-essential

released in 1939. Extra Bold font was

elements. The lowercase has tall ascenders,

designed by Edwin W. Shaar in 1952. Extra

which rise above the cap line. The uppercase

Bold Italic font was designed in 1955 by

characters present proportions similar to

Edwin W. Shaar and Tommy Thompson.

those of classical Roman capitals. The

Matrices for machine composition were made

original Futura design also included small

by Intertype. Although Renner was not

capitals and old-style figures, which were

associated with the Bauhaus, he shared many

dropped from the original metal issue of the

of its idioms and believed that a modern

type. The digital versions of these glyphs

typeface should express modern models,

were first produced by Neufville Digital under

rather than be a revival of a previous design.

the Futura ND family.

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