Both the counterculture movement and low-end DIY design adopted Cooper Black. Its soft forms worked exceptionally well with phototypesetting, which allowed for extremely tight kerning. In the 1960s and 1970s, designers looking for alternatives to cold Swiss modernism and Helvetica looked back and revived Cooper Black. Other designers worked with similar forms, such as Frederic Goudy and his typefaces Goudy Heavy Face and Pabst Extra Bold. This type of letterform gained popularity between 19. The forms are based on old style serif typefaces but are “fat” and soft. Cooper designed the Black weight after releasing a larger Cooper Old Style family of fonts. COOPER BLACKĬooper Black has a close association with the 1970s however, Oswald Cooper actually created the typeface in 1921. Right: Nearly a century later, Yuma Naito set this poster for the Afropunk Festival in Cooper Black in 2018. Left: A moving announcement set in Cooper Black by Fred S. He stated, “Out of thousands of typefaces, all we need are a few basic ones, and trash the rest.” Bodoni was a favorite of Massimo Vignelli, who limited his typographic options. The forms follow the tenets of rationalism, a movement popular in the 17th and 18th centuries.Bodoni has the classical forms of an old style serif typeface, but the sharper edges and straight lines give a more modern and fresh impression. ![]() Giambattista Bodoni designed Bodoni as a more geometric form, with straighter lines and more extreme variations between thick and thin parts of the letters. īy the late 18th century, printing technologies, new ink formulas, and better paper provided the ability to print more delicate forms. BODONI This 1821 short story by William Hazlitt was given a new cover by David Pearson, who used Bodoni to set its text in 1992. The Askew Clock, a 1989 design using Bodoni numerals at Tibor Kalman’s M&Co. It doesn’t call attention to itself, allowing the images or written content to be most prominent. As a common typeface, Garamond is unobtrusive. Employed historically as a book typeface, Garamond reads as “literature” without appearing overly decorative. Garamond is a classic typeface that communicates authority and academia. A maxim from mid-century art directors expresses its popularity: “You can’t go wrong with Caslon.” The typeface fell out of favor during the 19th century but became the “go-to” typeface for much of the 20th century. The first printed version of the United States Declaration of Independence was typeset in Caslon. Throughout the 18th century, Caslon was the dominant typeface for text and book publishing. Caslon spotted in an 18th century document, “Reales Ordenanzas Del Importante Cuerpo De La Mineria De Nueva-Espana,” concerning royal ordinances in New Spain. The strokes have even contrast between the thick and thin weights and simpler curves. Caslon is a further evolution of Bembo, with letterforms aligned less with handmade calligraphic forms. 1725, basing the typeface on 17th-century Dutch type drawings. A more modern application of Caslon, from 2017, uses the 18th century typeface to brand a barbershop in Copenhagen called 1937. With experience, a designer will be able to look at a version of Caslon and determine whether it is well-crafted and refined, or a cheap knock-off from a free download. Instead, it aims to illustrate the multiple ways in which a designer might apply a typeface, as well as the many variations of each one. Such an undertaking would require several volumes, each one thousands of pages thick. My new book, The Designer’s Dictionary of Type, is not a comprehensive analysis and history of every typeface. These examples are extremes many designers operate closer to the center of the spectrum. Herb Lubalin designed his own typefaces, preferring variety, flourish, and drama. Vignelli adhered to strict modernist principles of simplicity and reduction. Other designers may be more promiscuous with type, switching typefaces on every project. Some designers, such as Massimo Vignelli, work with a small handful of typefaces for their entire career. The typeface choice, like a moving and powerful photograph, is the difference between a good idea expressed adequately and a good idea expressed persuasively.There are as many approaches to typeface choice as there are design processes. The choice of typeface communicates a subtle message to the viewer. Helvetica might speak to neutrality and information Garamond can read as literary and classic Bodoni feels sophisticated, urbane, and crisp. Like images, each typeface communicates an idea, emotion, and point of view.
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