Yesterday our Design Principles session covered Typography, which links in well with other projects and briefs at the moment. We had to bring with us a set of 'a,b,c,x,y,z,A,B,C,X,Y,Z' letterforms in 3 different Typefaces, with the understanding that each should be from a different category of Type. I chose to pick one from each of the following variations: San Serif, Slab Serif & Serif. I decided to choose Akzidenz Grotesk, Rockwell & Georgia, which are among my favourites within each category.
Throughout the session we were introduced to the origins of Type, and how the digital Typefaces we use link to the production methods they are associated with. These production methods were:
Stone - One of the first recognised mediums in visually displaying Type. This is where the origin of the 'serif' stems from. Straight lines chiselled into stone would simply break the rock, so a gradual curve into the rock was used as not to. One thing that I brought up during the session was why we still design Typefaces with serifs. They are logically useless, they provide no additional legibility to the Type. Take Georgia for example, this was designed by Matthew Carter in 1993 using digital methods. There's no denying it's a nice Typeface, but there's still no need for the extra flourishes or serifs. I can only assume it's to do with traditionalism, the upholding of something that's recognised as 'formal'. I suppose it defines the Typeface.
Sable - This is essentially using a brush to define characters and is generally recognised as an old eastern technique. This kind of stroke provides a more varied line weight in the letterform, and has close links to many script styles of Type.
Bone - The way I recognised bone is that it's not too different to a pencil. I would provide a sharper stroke, but still be able to keep that flowing variation of line weight.
Wood - This is where reproduction on mass scale is introduced. Woodblock type is basically characters cut away from a block in reverse to be physically printed onto stock which leads to multiple replications of a design system. Generally woodblock type isn't too precise, and would eventual wear with age.
Lead - Lead is basically an upgrade from wood methods, it's is essentially the same technique but rather the characters are cut from the soft and malleable metal. Greater precision is achieved with this technique and lead type generally lasts longer with ageing. I understand that with the current digital state we are in, printing is a convenience that most have quick and easy access to, but personally I love the slight embossing you get with a lead letterpress, it's a more personal technique.
Silicone - This is digital methods of producing Type on a computer, which can achieve effects none of the others mentioned can, for example a certain quality of line. With this technique comes the ease of printing, and the mass of access to thousands of Typefaces globally, making silicone the most used method of producing and reproducing type today.
Here is where we've organised as a group which Typefaces gave it's origins to which method of production.
We also went on to discuss other means of categorisation, for example humanist and transitional typefaces etc. I'm aware of these terms, but they are still things I am yet to fully familiarise myself with.
Also, as part of a study task we've been set a task of again bringing with us an 'a,b,c,x,y,z,A,B,C,X,Y,Z' letterform from our personal favourite of each production method of Type. Something to think about through the week.
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