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this is the second half of the intro to.typography lecture for the beginning.graphic design class and in this lecture.we will continue to explore the history.of typography and how it affects written.communication today so when we left off.the Industrial Revolution of Machine Age.drove an immense amount of innovation as.well as commerce for the first time.goods were mass-produced resulting in.the need to solve products this created.the need for advertising and branding.also led to the creation of new.typefaces for the first time typefaces.were existing in environments that were.not just about reading it was no longer.Bibles and manuscripts and books.suddenly there were posters and clay.bills and flyers and elements of.packaging that needed to connect with.the audience that needed to potentially.yell across a room and we saw typography.like this we saw for the first time slab.serif typefaces we saw the wide use of.sans-serif typefaces we see a lot of.display oriented typefaces appear things.like shaded and Tuscan typefaces we see.a lot of settings like this in the.Victorian era where there's lots of.mixing of type to really try to grab.someone's attention this really starts.with Vincent Figgins he lived and worked.in England and during the time he was.alive here as she gay would have been.painting some of his work in Japan and.Dickens is really credited as creating.and inventing the slab serif style of.typeface and that's what we're seeing on.the right with mankind or the sample.from Figgins on the left and that's.where the serifs are really enlarged.they're made these rectangular slabs.that really call attention to them they.become these design elements within the.typeface and their goal is really to.attract attention and to create an even.bolder letter form in some ways this was.an evolution of the fat face so just.what you're seeing at the top with.furniture where they took the modern and.really increase that contrast and.created this boldness and the fix that.made it very eye-catching this was.really pioneered by Robert thorn this is.David berlo's Giza that was done for.Farm Bureau this is a type piece that.really referenced and looked at Figgins.and other people's work from the.beginning of slab serif typography so.dem slab serfs are also called Egyptians.or antiques the word Egyptian really.comes from the fact that during this.time period Egypt was very in vogue it.was very popular.culturally so they decided to attribute.this word to the solve typeface to try.to jump on that bandwagon and create.some interest behind slab serif.typefaces here's an example of some fat.based typography so you can see very.clearly those large large fix contrasted.with those thin thin so this evolution.of a modern where it's taken to this.really playful way it's no longer about.it being readable it's really for more.eye-catching loud typography during this.error we also see for the first time.condensed and extended typefaces this is.a specimen from der Bernie and Ponyo.from Paris and it's an example of a.condensed modern but we can really see.those condensed letter forms how they're.elongated and this really came out of a.necessity that if letter forms were.condensed words could be larger on a.page which would make them easier to be.seen so again a lot of these.developments a lot of these advancement.are really being driven from advertising.they're really being driven from this.new demand to suddenly let people know.about products and things and events.here's a diagram from Rob Roy Kelly he's.a wood type historian that lives in.Texas and it's a great diagram that.shows some of the different seraphs that.came up in the slab serif era so we look.at the top going from left to right we.see on the very left that antique or.that traditional slab serif with that 90.degree angle that enlarged brick like.slab and then one to the right we see.that there's a cutting happening so on.that interior 90 degree angle it's.actually being cut and rounded we.actually refer to this as bracketing and.typography and when we bracket a slab.serif it becomes a clear and on so it's.another type of slab serif and what's.interesting is a lot of these slab serif.typefaces were actually made in wood and.that made it very easy to modify these.typefaces so at times they might take.the typeface on the left and then make.that circular cut on the interior and.turn it into a Clarendon style typeface.is the same that third from the left we.can see there that they've cut that slab.off at an angle to create this.triangular cereth and we refer to that.as a Latin a Latin style slab serif so.they have these triangular pointy Serra.and then on the far right we have the.Tuscans which is a genre of slab serif.typography that are very ornamental they.have these very decorative serifs that.are cut in multiple ways if we look down.at the very bottom you can see that they.even bifurcate which is where that serif.splits apart and becomes two separate.pieces so that's often something we also.see in Tuscans but again these are all.of the different permutations in.different modifications and different.styles of slabs serifs that appeared.during this era and that really drove.this kind of work because there was all.this experimentation because there are.all of these different kinds of.typefaces we actually had this mixing or.where they would blend all these.different kinds of typefaces together so.that it would become this catch-all.because again the idea here was that if.we use all these different typefaces.there's all these different voices and.there's a lot of things to grab the.viewer and it's not too far off from the.work of the futurists where they worked.it like this with setting type of.different sizes and mixing different.typefaces but more here to create type.is image they explored a lot of automata.Pia they worked a lot with poetry.setting type in interesting shapes and.directions they really wanted the type.to feel like the content and again I.cover this because I feel this is so.important for what we do this is really.the beginning of us as graphic designers.and our seeking of creating type is.image and creating meaning that does.justice to what the words are saying and.so this all influenced and created a lot.of different kinds of typography and.different styles of setting type that.really evolved into the basis of our.profession then we have William Morris.he lived in the United Kingdom and he.lived there from 1834 and died in 1896.then goal would have been painting.during his lifetime and he was one of.the leaders of the Arts and Crafts.movement and he predominately ran the.Kelmscott press which was a very notable.press and he created this which is.golden type and it was something he.created specifically for Clem Scott.press and his idea was he wanted to go.back to the work of Jensen but he wanted.to actually retain the spreading in the.darkness of the letter forms.coz if we look back at the specimen of.Jensen we're really looking here at ink.on paper and when the type hits the.paper and creates that impression there.is a slight amount of spreading where we.get this thickening in this blurriness.of the letter form and especially this.long ago.the technology of printing and ink and.paper were not as sophisticated as they.are today so that was even exaggerated.based on the kinds of tools that existed.so a lot of people like Robert slim Bock.that we see on the right when they do a.revival would go and look at the letter.forms and maybe try to find their purest.form to try to imagine what the punches.would have looked like or the actual.metal type itself but here William.Morris has done something completely.different he's actually decided to keep.the spreading and the darkness he's.chosen it as a narrative or a stylistic.quality that he really wanted to keep in.the typography so even though printing.is much more sophisticated and paper is.much better quality at this point he's.purposefully retaining that darkness for.a certain stylistic effect so again.that's just an interesting contrast to.what most revivals up to this point have.been then we have Morris Fuller Benton.we're finally in the United States and.he's one of the most notable American.typographers during his lifetime Klimt.would have been painting he was.extremely prolific and one of the most.influential early American typographers.he worked for the American type foundry.and created many typefaces that we still.see today like new century school book.Morris sans franklin gothic and ITC.souvenir one of his most notable.typefaces is Franklin Gothic and it was.released in 1904 he did many sans-serif.grotesque oriented typefaces but this is.one of his best.it was incredibly popular in the United.States and is still used extensively.today he comes in a range of weights and.styles and his featured often in.editorial work Fredrik Gaudi was another.influential American typographer he also.created typefaces for the American type.foundry and invented typefaces such as.copper plate cuts of Trajan and many.typefaces named after himself here's.some of his work one of his most notable.releases is Goudy old style it was.released by the American type foundry in.nineteen.tene it was one of their most successful.releases ever the typeface that you can.still use today that we have Edward.Johnston he worked and lived in England.he was a notable calligrapher and one of.the masters of his time he often.explored the boundaries of calligraphy.and did extensive research on the.rationalization of letter forms he often.looked at how letter form should be.constructed and did some research in.sans-serif typography and the.construction models that should be used.by calligraphy pens but he's most famous.for being hired by the London Transport.Authority to create the typeface for.London's underground transportation.system oftentimes referred to as the.underground this is his work that he did.for the London Transport Authority it.resulted in this geometric model linear.typeface that was really ahead of its.time it had incredible precision and.high quality there was a product of.Johnson's amazing color graphic.background here's a revival of the.typeface that tries to do it justice but.it's really known for its geometry these.round forms and square and triangular.shapes it has a rationality to it and a.mono linear structure that makes it feel.very perfect there are many other type.bases like this notably gill sans which.was designed by Eric Gill and was.somebody that worked under Edward.Johnson then we see work like this.this is modular typography done by De.Stijl at the top and the Bauhaus at the.bottom this was where the structure of.the typography and the way it was made.directed the look of the type so the.actual limitations that are being placed.on these letter forms in terms of how.the shapes can be used and what kinds of.shapes can be used are actually.ultimately determining the aesthetic.quality of how these letters look at the.top where there's different rectangular.shapes that are being strung together to.spell - steel it has a blocky and.stencil look to it and that's really a.result of the way that the letter forms.are being constructed or the bottom this.piece by Theo von dos Berg where they're.only allowing horizontal and vertical.lines to be used which restricts the way.that these letter forms have to be.constructed and ultimately creates.strong unity and this modular aesthetic.we saw this pushed even further here by.Herbert Bayer he was a student of the.Bauhaus and in 1925 he was hired to.create a typeface for.to Bauhaus it's called Universal.alphabet and you can see the influence.of that modularity these circular.structures that are put into as many of.the letter forms as possible and so this.use of modularity in all of these.different kinds of ways really drove the.evolution and the discovery of new.styles of letter forms then we have a.very important advancement when Paul.Renner released Futura in 1927 this.typeface was much desired at the time.designers were really looking for.something that embraced the modern.movement with a minimal and functional.aesthetic and fitara really hit the mark.it's a beautiful typeface here's one of.its specimens and it appears to have.perfect geometry and a completely.perfect model linear structure but it's.really a brilliant illusion that was.created by Renner there's a lot of.adjustments happening here including the.O's are actually elliptical but that.allows your eyes to perceive them as.perfect circles so it's a very beautiful.typeface that was drawn with great.precision and is still used extensively.today so as technology continues to.change and influence culture and the way.our society operates it eventually has.an effect on the typographic industry.itself so we've seen at this point.industrialization and machinery.incorporating itself into all different.kinds of industries and advancing them.and making them more efficient but up to.this point we haven't seen that in.typography at this point we are still.seeing type either made in wood or in.metal in the processes that I showed in.the last lecture with matrices and.punches and pouring into molds we're.also still seeing typeset by hand in.some kind of a lock up where each letter.is put individually to create words and.so eventually that efficiency and that.machinery hits the typographic industry.because for magazines newspapers and.periodicals in particular there was.really a need to advance and make a.quicker way to create this content so we.see the creation of the monotype machine.and the monotype machine is two machines.that work in conjunction this is the.casting unit that would actually cast.hot metal type so there are matrices and.molds that exist within this machine and.it works in conjunction with the.keyboard unit where the operator would.actually enter the text that's necessary.so there's multiple.keyboards here those controlled.uppercase lowercase small caps things.like that and then this would actually.produce a piece of perforated tape that.would be put into the casting machine.and it would actually cast those words.in the metal type so ultimately you.would get letters like this and they.would come out at a line at a time but.they weren't connected their individual.letters so this made things much more.efficient for one there is no longer a.need to worry about having the right.amount of letters or type you could just.create what you needed at any given time.it also set the type together so you're.able to kind of group it and move it and.use it all at once which really refrain.from you having to find a letter and put.it where it went it was already being.set correctly in the way that it was.supposed to be read so this is huge.advantages and we saw this really take.off this really starts to dominate the.typography industry and it appears.around the late 1800s its competitor is.another machine called the lid o type.the lumo type was very much the same as.the mono type and then a cast hot metal.type but there was one considerable.difference one you'll notice that it's.one machine the keyboard actually exists.within the casting unit but the second.thing was that it actually made an.entire line of type so that's what the.name of the machine comes from Leno type.line of type so we actually have the.ability to cast an entire line in one.piece of metal and this was really.advantageous because now of it.typography setting has become so much.more efficient with the creation of.these hot metal setting machines we no.longer are worried about mistakes and.wanting they'll replace one letter it's.actually more efficient to replace an.entire line if needed because we can.create them so quickly and there's an.advantage here because there's fewer.small pieces and it makes it much.simpler to set these things together so.the little type machine definitely.started to dominate the market and.continued to push hot metal typesetting.era and this would become the way that.typography was made predominantly for.the next 80 to a hundred years then we.have Hermann Zapf he was a German.typographer and master calligrapher he.was really known for his technical.expertise and again he was a very very.gifted and knowledgeable calligrapher.he's known for some typefaces.are still used today like Palatino and.Optima as well as this typeface meliora.that came out in 1952 it's built on a.square circle construction method and it.has this rounded outside but slightly.square inside it's classified as a.transitional serif although it is often.said to be one of the more difficult.typefaces to classify then we have.another technological advancement we.have the creation of typewriters.typewriters actually were initially.brought onto the scene in the 1800s and.they were predominantly used for.expediting typesetting for filling out.invoices and forms with variable data.but what's really important about this.particular typewriter is this is the IBM.Selectric it came out in 1961 and it had.a large innovation that really affected.typography and that is that it no longer.had letters on individual arms that.would clack when you hit the buck so if.you've seen a historical typewriter each.letter is on its own arm and it hits the.paper as you click the corresponding.letter the Selectric actually had a.typewriter ball so there was a ball that.could move and hit the paper in the same.fashion that those arms did but the.difference was that there were no longer.individual metal pieces for all of the.different letters and characters there.was actually just one ball and one of.the side effects of this is that IBM.actually created balls with different.typefaces so you could actually buy a.different font and swap it out in your.selectors and change to that font and.this is really important I think in the.study of typography because this is.really the first time that the user has.the ability to change the typeface up.until this point you were stuck with.whatever typeface was in the typewriter.whatever typeface the document you.received was printed in this is the.first time that the user actually has.choice in what typeface they use.although it was a very limited amount of.choices this is really the beginning of.that process so if you imagine that you.have so many typeface choices when.you're in Microsoft Word or InDesign or.illustrator you know this is really the.first time that there's any kind of.choice at all and that was really I.think big for the user to have input or.choice and what kind of typeface they.were using for their work then we have.vim Crowell he's from the Netherlands.and worked at total design he did a lot.of groundbreaking and innovative work.and was sometimes referenced to as grid.Nick and that was really for his love of.grids and his ability to use grids and.really creative ways and this is a piece.of typography that he designed in 1967.it's called no alphabet and it was.actually designed to help bridge the gap.on the limitations of early photographic.lettering so that's something we'll talk.about in a minute but photographic.lettering is the next technical.advancement in typography but in the.beginning stages it struggled to render.curved and diagonal shapes and so them.really worked to create this typeface.that was built out of horizontal and.vertical strokes with these 45-degree.angles so that it would be so that would.really help to create clear typography.for photographic lettering it's also a.great example of modular typography we.see that coming back again the stylistic.look to these letters that are really.built from the modularity or the.structure or system that's behind the.way the letters are built he did this.again in 1968 for the stenick museum he.did a lot of the shtetl it's work for a.long period of time and this was a.typeface he created just for one.particular exhibition she'll notice.right away that the grid is actually.visible so he chose to show the grid and.then on top of it he shows how the.typography perfectly fits on the grid.this is another interesting example of.how grids and rationality start to.abstract typography and push where.things are going so we have photographic.lettering so as I mentioned this is the.next advancement and this really comes.with the development of photographic.technology so that starts to finally.affect typography because we start to.realize that we can do away with the.metal we can work with these films or.screens that we shoot light through that.helps us create letters through a.photographic process so they start with.glass film but eventually they move to.film that you're seeing here which is.similar to photographic film as a black.background you're seeing the blocks.light and then the white areas where the.letters are allows light through and.though this could be projected and it.could change in size and other.modifications could be made and during.this time there was one company that was.really the predominant leader in this.technology and that was photo lettering.plin see and they had proprietary.technology that was really special in.that it allowed them to not degrade.their masters but it also allowed for.more modifications to be made as the.type was being drawn because during this.era an art director would call in with a.headline of what they would want with.the typography so they would spec the.typeface the relative size and then the.words that they needed set and then the.letterer would actually create the.artwork that then will be photographed.and included in the magazine or whatever.piece that they were working on and one.of the most important people in this is.ed Venga he's an American typographer.and he worked for plin C and produced a.lot of their wonderful lettering he's.particularly known for creating.lettering systems that had a lot of.modifications this is an example this is.been got new lock and what you're seeing.here is a photograph out of the photo.lettering book and what's interesting.about this is the way these letters are.locking together now the way these.letters lock together really depends on.the word in the context of what the.letters that are existing there so this.is a great example of those.modifications that I'm talking about in.architecture I would call them with this.headline and then as the letters are.being projected ed is then able to.letter this and make adjustments to.create these interlocks where they make.sense on the fly and then produce really.great typography that has a slightly.more custom feel to it and this was.something that was special about plin.see the photo lettering collection is.now all owned by house industries and.they've slowly released it there's even.an app on your phone for it and this is.some of the typefaces that house.industries released in honor of Ed.bengay so this is some of his work but.redone by house industries and this is.ed Roman and you can see some of that.playful Flair that he was so known for.in 1984 them first Macintosh releases.and this really changed graphic design.and typography because for the first.time we have typefaces on screens which.is a totally different environment than.they've ever lived in up until this.point so suddenly there's these low.resolution screens where rudimentary.typefaces need to exist so they can.communicate with their audience it also.for the first time allowed us to create.typefaces on the computer and also.graphics on the computer which is really.the.of everything that we do today and one.of the pioneers of this was Susanna.Linko she lives and works in Oakland.California and went to Berkeley she is a.phenomenal typographer and very much.known for a lot of her work that she did.with a me gray which is the foundry that.she owns with her partner Rudy van der.Linde.here's some of our early typefaces these.were created on early computers and.their pixel fonts that's how you'd refer.to these today but at the time these.were just fonts that were possible to be.created on the computer because the.screens were at such low resolution.there was these enlarged pixel grids.that had to be adhered to and so Susana.created all of these different typefaces.that could work on the computer and then.be output through printers and these.were then re-released in 2001 as the low.res family and it's really now a homage.or you know way to create a stylistic.element that references those old pixel.fonts but initially these were really.created because they were just the first.thoughts that were able to be produced.at all on these low res computers she.also founded a magazine called a me gray.she did this with Rudy Vander Lin's in.1984 and a me gray magazine was one of.the most popular and influential.magazines of its time it really.influenced and pushed the deconstruction.and postmodern era of design this is a.very typical layout you can see the.expressive typography the interesting.grid structure the way that the images.are scattered across the page this was.very much quintessential imme gray style.and really helped fuel the work that of.the 90s she also did a lot of other very.beautiful typefaces this is philosophy.which was released in 1996.it's her look at Bodoni she really.wanted to recreate bodoni but overcome.some of the legibility issues that.existed when it works in small sizes you.can also see here at the bottom the.wonderful yuna case version where she's.mixing upper and lower case letter forms.which can be very useful for us in.branding and different type setting.scenarios.this is mrs. Eve's which was released.also in 1996.it's her interpretation of Baskerville.as a low X height and a wonderful warm.quality to it it's named after Sarah.eaves who was Baskervilles housekeeper.and then.second wife and she actually took over.his business and prolonged his career by.keeping his high standards and.continuing to release his work we have.Eric Speicher Minh he's a German.typographer very much known for his work.on the computer and his creation of the.font font foundry this was one of the.first foundries that helped independent.type designers get their typefaces.released because at this point most of.the juggernauts of the type industry are.the linotypes and the monotype so those.initially started as machines but.eventually they evolved into being type.houses where they would sell the.licenses that they had because they.owned the rights to so many of these.classic incredible fonts so they would.actually sell them in digital formats.and then that grew them into the.juggernauts of the type industry so font.font was one of the first that actually.got on the scene and could help allow.these independent small foundries to.sell their work here's some of his.typefaces Mehta oficina serif oficina.sans he's very much known for his work.on FF meta it came out in 1991 and it.has a beautiful warm friendly quality.it's also a very narrow sans-serif.typeface which gives it an ability to.work in small spaces and it's a very.much a humanist blend with a grotesque.and it's also completely made on the.computer it has a very warm but digital.quality to it.and it's a thought that you'll still see.used today although it was very widely.used in the 90s and 2000.this is Scala and Scala sans from Martin.Maggiore it came out from 1991 to 1993.also through the font font foundry and.it was an example of one of those mega.families during the 80s and 90s we start.to see a lot of corporate rebranding and.companies really working on creating a.very consistent unified look and feel.and the typography industry really.responds with these large families that.have a very consistent voice and style.that allowed companies to really make.one choice that can work in a lot of.different environments and Scala is a.great example of that it had a lot of.Styles weights that had small caps.regular bold black it had condensed.versions of it so it really could work.in a lot of different scenarios it was.one of the first mega families also a.thesis and some of the.other families that came along in the.same way but their goal here is to make.one-stop shopping a type piece that.could really work across an incredibly.wide landscape we also see things like.this this is Barry decks template gothic.that was also released in 1991 it was.released by a me gray and it's really.based on those plastic stencils that you.would use to create letter forms as a.kid but what Barry decks is something to.do here is instead of keeping the.perfectness of those letters he's.incorporated the imperfections that.often happen when you're using these.stencils so he's purposefully keeping.these imperfections to create this.narrative quality and it becomes more.expressive that way and this was an.extremely popular typeface through the.entire 90s it was often used in a lot of.the work of David Carson and other.people who embrace postmodern.deconstructed design but it was really.about the expressive quality of letters.and we saw a lot of other type pieces.like this where it was more about what.they felt like and said maybe then how.well they were constructed or designed.even in its digital form type is still.evolving the Fogg files that contain.typefaces have become much more.sophisticated allowing for new features.for their compatibility and an increased.number of characters allowed technology.and coding languages like Python have.become increasingly more integrated and.a part of creating typefaces so.historically when we had digital type we.had PostScript fonts and true type fonts.and not all the fonts worked on PCs and.Macs and eventually we evolved into open.type which is allowed for a lot of this.functionality to happen and it continues.to be improved and that's really allowed.a lot of alternate glyphs to be included.increased the character count it also.has compatibility on both platforms so.we see this first from Eric van Blokland.he created a typeface actually all the.way in 1989 called Beowulf and there was.the first time that code was included in.a font file that would manipulate letter.forms and what you're seeing here is.that as you type these letters there's.an algorithm that is actually changing.where the points of the letter exists so.at the very top you'll see the lightest.weight although there's no weight.shifting here it just has the least.amount of degradation so if you look on.the edges you'll see the different.colors that are showing you the.different outlines.every time you type with this font it.actually randomly changes where the.exterior points exist so if we go down.one more you're seeing the next level of.degradation which makes it more obvious.you can see how different each of these.letter forms that every time you type a.letter it's randomly changing the.placement of the exterior points and.that really goes all the way to the.bottom weight which is practically.illegible but it really shows the.concept of how coding can be.incorporated into font files to really.change the way that typefaces work we.saw a lot of problem solving done by.Jonathan hofler and Tobias sphere Jones.this doesn't mean it was always.involving coding but they very.frequently are using type and pushing.the boundaries of type technology to.really solve complex problems that.designers have they used to run a.foundry together called hofler and fear.Jones although they have split and most.of it is now run through hofler this is.one of their typefaces knockout it was.originally designed for Sports.Illustrated and it references old.American wood type has a loose family.but there's a nice relationship between.all of the letter forms it comes in nine.widths which you see at the top and then.six weights which you see at the bottom.and what's wonderful about this typeface.is it creates a lot of flexibility for.editorial designers to fit words in.different spaces it's like this example.at the top you can see that we're using.different styles so it more extended and.a less extended but of the same way so.that these letters actually lock up left.to right so by using that extended wait.for is key it really allows the letters.to really lock up into this tight space.the other thing that can be useful with.this font is that we have all of the.different styles and widths in all these.different weights so you can actually.change the weight of a word within a.headline or a piece of text and still.allowed to maintain that same width you.also created things like this this is.the Proteus project which is another one.that solves an editorial problem each of.these four type faces are a different.style but they all are built on the same.metrics which means that you can.interchange these words or letters and.they will be the same width you could.actually even type a word where certain.letters were in each of these four fonts.and they would actually still look.correct and this is really you.full because potentially if you set a.headline in a magazine and you had it.fit perfectly and you wanted to change.the type style you could easily change.to one of these other styles and it.wouldn't affect the width or the.placement of the headline.so here's ziggurat which is the heavy.slab serif from the Proteas project.here's Gotham which was released in 2000.it was originally commissioned by GQ.magazine it was developed based on.inspiration of signage in New York City.particularly the Port Authority Bus.Terminal sign it was also very famously.used in both of Obama's presidential.campaigns this is Archer it was.originally designed in 2003 for Martha.Stewart Living magazine so it's an.interesting relationship between.editorial publications and typefaces.oftentimes art directors when they're.redesigning a magazine or a newspaper.can't find a typeface that has the voice.or the quality that they're looking for.so they'll typically write a brief and.hire a type designer to create specific.typefaces and this is a great example of.that you know this is a really sweet and.structured typeface that was really.perfect for Martha Stewart Living they.couldn't find something to have this.quality and through the brief they were.able to create something that's really.unique and for Archer there was.initially licensed to Martha Stewart.Living and they were able to use it.exclusively but after a period of time.that exclusivity expired and they were.able to retool the typeface and release.it to the general public so sometimes.these typefaces never expire there's a.permanent license of exclusivity for the.user but oftentimes these typefaces have.a window of exclusivity and then the.typefaces are eventually released to the.general public which case is really.interesting flow between editorial.design and then graphic design then we.have house industries which is in your.clan Delaware it's run by Ken barber.rich Rowe and Andy Cruz and they are the.owners of photo lettering we talked.about that earlier but they also create.a plethora of incredible typefaces many.of them very vintage and retro styled.and all of them extremely high quality.they make some of the most high quality.display typefaces that you can find.here's an example of your clean stencil.this is a recent typeface they release.they often also have the most incredible.promotional materials and they create a.lot of objects oriented around their.typefaces and it's create a lot of.notoriety.for them because they're able to brand.and apply their typefaces and.interesting ways that attract their.audience here's a photo of an exhibition.they had at the Henry Ford Museum for.innovation and it was featuring all of.their work you're seeing here some of.the work from their ames typeface so.they created a series of typefaces.related to the legacy of the ames.one of them is based on Ray Eames.handwriting but the others are based on.other artifacts and things that they.found and that's a very typical process.for house industries they don't have.families in the typical way that we.think of them oftentimes the families.are thematically related instead of wait.so instead of just having a bold light.regular of the same style there's.different actual faces that reference.different parts of a potential topic.here's one of their most famous releases.this is nitro face which was designed by.Christian Swartz it came out in 2002.it's based on Richard nitrous signage.that was done for his buildings.he's a modernist architect that worked.in California and the western United.States it's really notable for its.lowered crossbar you can see in the e.the F the H the R it makes it very.iconic and easy to identify it's also.extremely ubiquitous you'll see this.typeface everywhere extremely popular.here's some of the process behind it.this is an image of their book the.process is the inspiration this is a.spread about nitro face and again you.can see that way that they produce and.sell these typefaces this type piece was.actually eventually turned into a slab.serif which you see in the upper right.on that pillow and then the lower is.actually a chair that they made a.boomerang chair that they built in Seoul.to promote this typeface in the bottom.they even partner with Heath ceramics.and created new interface house numbers.that you see there in 9 to 3 so they're.really interesting they're very much.about building products they do a lot of.collaborations with different companies.and the core of it is always typography.this is their Las Vegas fabulous this is.another great example of them creating a.type family based on a theme there are.not different weights of this script.there are just other typefaces that.reference other wonderful lettering that.we often see in Las Vegas on this trip.and in all the various casinos this is.Edie interlocked this is actually a.tight base that's based on the font we.saw earlier.in the photo lettering section the new.lock condensed so this is a typeface.based on an Bengal yachts work and it's.an incredible use of technology in a.typeface there's actually an incredible.amount of coding and ligatures that go.behind this that allow you to type this.typeface out and have it actually create.all of these connections so there's.1,100 ligatures and as you type it.automatically changes to the correct.ones that it needs you'll notice that it.always prefers to go like top bottom top.bottom top bottom so that it creates a.really natural rhythm the way that these.connections happen this was coded by.Ptolemy who's an incredible typographer.and someone who is very well versed in.the coding and algorithms behind.typefaces that really help advance and.create this kind of look then we have.underwear it was founded by three people.who all went to kab K which is the tight.media program in Holland it is one of.the top and best design schools for.studying type design another notable.school is in Reading England the.University of Reading but both of these.schools produce some of the best.typographers and have some of the best.teaching methods and have really pushed.and helped advance the typographic.industry they've also helped advance.type education as a lot of their.information has disseminated around the.world but this is their typeface doli so.recent 2001 it is based on Dutch text.typography it has a really nice.calligraphic feel it's a wonderful.typeface because it works well at small.sizes and is very readable but when.blown up it has this warmth in this.friendly quality that makes it really.special.this is Belo which was released in 2004.it's a script based on brush lettering.and this is Lisa which was released in.2009 which is another interesting.typeface that uses OpenType technology.to create interesting letters so there's.an incredible amount of alternates.inside this typeface that help refrain.from more than one letter being repeated.if you look through and find the A's and.O's and E's you'll notice that each of.them are slightly different which helps.emulate handwriting so it's interesting.as this technology has evolved there's a.desire to emulate lettering or.handwriting rather than actually looking.like a typeface there's actually a.desire to almost hide the.of it being a typeface by not having all.the letter forms be identical and that's.particularly useful in script faces like.this the technology was pushed even.further and this one where there's.actually an algorithm inside of the code.that simulates when the pen will run out.of ink so if you look at the first line.lorem ipsum dolor and you see the AR and.dolor you'll notice that it doesn't.quite connect and that's referencing the.point where you would have had to refill.your pen with ink to go ahead and.continue to write so again there's this.desire to kind of go back and make these.typefaces even more like handwriting or.lettering as interested in typography.grows and access to knowledge tools and.resources increases the industry is.starting to spread further across the.globe this has led to a proliferation of.type designers and typefaces but also.led to advancements in non-latin.typography so as we talked about there.were these two juggernaut schools that.still exist and still create some of the.best type designers out there but now.there's also other schools that have.sprung up and I've taught these methods.there's other schools that teach these.methods but for other languages there's.also an ability to create better.non-latin typefaces because the.technology allows for more characters.and alternates that makes it easier to.create complicated scripts that are not.using Latin letter forms the first is.Klim which is owned by Chris Soares be.this is out of New Zealand and he's.someone who has been able to create an.incredible amount of high quality.typefaces from a country that.historically doesn't have a long type.history this is national which is a.grotesque that he released in 2007 to.great acclaim it was used by a handful.of publications it has really built from.the inspiration of grotesque.typefaces from Europe this is pitch.which was a font that was released in.2012 it's based on typewriters and has a.particularly interesting ball terminal.feel to it but due to the Internet and.the proliferation of this education and.technology Chris is able to have an.incredible typographic career when.living in an area of the world that may.be historically would not have had a.very high profile typographer also.steven ala pure mom who's an indian.typography who creates indian typefaces.but he also creates.interesting latin typefaces that i'm.actually going to show the first is one.that is based on qu fit calligraphy.which is the oldest form of arabic.script and it's very interesting because.it's often used in decorative motifs as.you can see here and what's fascinating.is that there's an interesting balance.here between black and white there's a.mono linear structure it's almost maze.like in its appearance but also these.letter forms have to fit into these.specific shapes so not only do they have.to fit in these shapes but they also.have to be readable so there's this.incredible ability to morph and fit into.these different areas and not only.become this beautiful decorative element.but something that's actually readable.for the viewer so he thought is there a.possibility that I could create this.using Latin letter forms and that really.led to the creation of calcula which is.a typeface that he released through type.of text and you can see here that same.idea that beautiful balance of positive.and negative space that's being used.here that mono linear negative space.that creates that really interesting.effect he also pushed it further by.creating shaded and inline versions that.create even more interest but he was.able to really solve this by working.with Tao Leming again and using a lot of.that technology that we looked at in an.interlock so here there's a series of.alternates that are being used and as.the letter forms are being typed it.knows what combinations of letters need.to fit into what way so you can see here.if it's an S than the e is type that is.going to be in this lower location where.if an L is type that is going to be in.this upper larger location and that.really allows it to create that effect.and allow it to interlock in that.special way each time and then when I.first saw this typeface I was also.shocked and amazed by the patterns that.it could create this was definitely an.afterthought but it's an amazing one.these beautiful positive negative space.also allow themselves to be pushed.together and blend into these gorgeous.patterns and then even when they're put.on paths they can create these circular.almost mandala like shapes so really.interesting other aspect that comes from.this typeface here's some of Shiva's.other western typefaces.here's orwellian a typeface that he.released through lost type it's a.reverse stress Italian style slab serif.and then enemy which is an interesting.edgy stencil font that was also released.through lost type do we have Christian.Sarkis he is.graduate of the type media program at ka.BK and he's an expert on Arabic.typography he actually now teaches at K.BK in the type media program and he also.co-founded typo tech Arabic in 2013.which is really pushing where Arabic.typography is going they're really.working to create all of these high.quality Arabic typefaces that are based.off of the library of type of tech.because it's really important that we.have people who are speaking these.languages and know these languages.intimately to create them because.historically these typefaces were.created by people who it's not their.mother tongue and they maybe do not know.the nuances and the details of them and.oftentimes these typefaces aren't always.completely accurate in addition a lot of.these languages have really a dearth of.tight there's really a very low number.of typefaces that exist which creates a.limited amount of choices and so it's.also interesting for us to look at.expanding these areas and looking at the.boundaries of how we can create new.styles of these different languages.again OpenType has allowed this to work.too because the technology exists to.really create these complex scripts in.digital typefaces it's allowing us to.really push the boundaries and create.more and more of it so this combination.of the democratization of the education.the increase in the technology and the.spread of the interest around the globe.is really going to increase the amount.of high-quality typefaces that exist for.all of these languages which is really.important not only for preservation of.these languages and to create choices.for them but also for the graphic design.communities within each of these regions.because right now they have a very small.number of typefaces they can choose from.in some places and by opening that it'll.also increase interesting graphic design.and a lot for more high quality graphic.design and allow for more voices to be.heard in these different corners of the.globe so it's not that there isn't.advancement happening in Western or.Latin typography there's amazing things.happening but right now I think the most.interesting thing that's happening is.this push for more foreign language.typefaces and this interest in really.preserving language and creating really.authentic high quality fonts that can.really work for all of these different.languages that exist around the globe.

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