Made Yesterday to Make Way for Today

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Designed and Edited By: Gaby Flores© 2010

Made Yesterday to Make Way for Today

Made Yesterday to Make Way for Today

Gill Sans Std.....................................Bold extra condensed 30Gill Sans Std............................Condensed 30Gill Sans Std.....Bold Condensed 30Gill Sans Std.....Ultra Bold Condensed 26Gill Sans Std........................Light 30Gill Sans Std.....Light Shadowed 30Gill Sans Std.........................Light Italic 30Gill Sans Std..................Regular 30Gill Sans std...........shadowed 24Gill Sans Std.........................Italic 30Gill Sans Std.............Bold 30Gill Sans Std............Bold Italic 28Gill Sans Std.....Extra Bold 26Gill Sans Std...Extra Bold Display 24Gill Sans Std...Ultra Bold 24

Gill Sans Std.....................................Bold extra condensed 30Gill Sans Std............................Condensed 30Gill Sans Std.....Bold Condensed 30Gill Sans Std.....Ultra Bold Condensed 26Gill Sans Std........................Light 30Gill Sans Std.....Light Shadowed 30Gill Sans Std.........................Light Italic 30Gill Sans Std..................Regular 30Gill Sans std...........shadowed 24Gill Sans Std.........................Italic 30Gill Sans Std.............Bold 30Gill Sans Std............Bold Italic 28Gill Sans Std.....Extra Bold 26Gill Sans Std...Extra Bold Display 24Gill Sans Std...Ultra Bold 24

Made Yesterday to Make Way For Today

Designed and Edited By: Gaby FloresGDES 1314.01

© 2010

typespeciman book

First Edition

Included TextThe Elements of Typographic Style,

second edition by Robert Bringhurst

Bigger, Bolder, Louder?...........

The Timeless Font...........

What the F?.................

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Add’em All Up!........................

1.

2.

3.

4.

Table of

Contents

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As the Leading Grows.........

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As Each Paragraph Sets.......

Towering Columns...............

What’s Your Logo?..............

5.

7.

8.

9.

10.

6.

Box It Up..........................

They Mean What They Say.....

Typography is an art that can be deliberately misused. It is a craft by which the meanings of a text (or its absence of meaning) can be clarified, honored and shared, or knowingly disguised. In a world of rife with unsolicited messages, typography must often draw attention before it will be read. regular 11/12

How much attention?Condensed 18

Is this enough?

What about now?

Bold Condensed size 14

Ultra Bold Condensed size 14

Should it be bolder? extra bold size 14

Bigger?

Shadowed size 30

Is this good?extra bold display size 14

Do you need more?Ultra Bold size 24

Ultra Bold 9

Bold Italic 14

Extra Bold 12

Light Shadowed 12

Shadowed 12

Ultra Bold 12

1.

Letterforms that honor and elucidate what humans see and say deserve

to be honored in their turn. Yet in order to be read, it must relinquish the

attention it has drawn. Typography with anything to say therefore aspires

toa kind of statuesque transparency. Typography at its best is a visual form

of language linking timelessness and time.

Light 12/18

timelessness time.and

2.

1 2 3 4 5 6 7 8 9 0Condensed 14/121 2 3 4 5 6 7 8 9 0 Bold Condensed 14/121 2 3 4 5 6 7 8 9 0 Ultra Bold Condensed 14/121 2 3 4 5 6 7 8 9 0 Light 14/121 2 3 4 5 6 7 8 9 0Regular 14/121 2 3 4 5 6 7 8 9 0 Italic 14/121 2 3 4 5 6 7 8 9 0Bold 14/121 2 3 4 5 6 7 8 9 0Bold Italic 14/121 2 3 4 5 6 7 8 9 0Extra Bold 14/121 2 3 4 5 6 7 8 9 0Extra Bold Display 14/121 2 3 4 5 6 7 8 9 0Ultra Bold 14/12

√−∕+π±Bold Ultra Condensed 24

¼½¾Regular 24

Ω∆∑∂∫Light 24

≥≠≤ Bold 24

The first task of a typographer is therefore to read and understand the text; the second task is to analyze and map it. The typographc page is a map of the mind; it is frequently also a map of the social order from which it comes. And for better

or for worse, minds and social orders change.Condensed 14/18

3.

What the?Regular 24

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Bold Extra Condensed 72

fiUltra Bold Condensed 60

fiLight 55

fiBold Italic 48

flBold Italic 48

flBold Extra Condensed 72

flUltra Bold Condensed 60

flLight 55

4.

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Writing merges with typography, and the text becomes its own illustration. Letter forms have tone, timbre, character, just as words and sentences do. The moment a text and type-face are chosen, two streams of thought, two rythimical systems, two systems, two habits, or if you like, two personalities intersect. They need to live together contentedly forever, but they must not as a rule collide. The typographer’s task has always been to add a somewhat unnatural edge, a protective shell of artificial order, to the power of the writing hand. Shap-ing the page goes hand in hand with choosing the type, and both are permanent typograph-ical preoccupations.Give full typographic attention especially to incidental details.Bold 8/8

5.

Please Select a ParagraphSetting...

Make it Align Left.

Center it!

Make it Align Right.

Justify aligned left! Justify aligned

right!

Justify aligned with center!

Justify all Lines

The typographic performance must reveal, not replace, the inner composition. Typographers, like other artists and craftsmen-musicians, composers and authors as well-must as a rule do their work and disappear. The word can be surgically revised,

instead of rewritten , to become a word farm or firm or fort or fork or from, or with a little more trouble, to become the word pineapple.The original purpose of type

was simply copying.Regular 10/11

6.

The satisfication of the craft come from elucidating, and perhaps even ennobling, the text, not from deluding the unwary reader by applying scents, paints, and iron stays to empty prose. But humble texts, such as a classi-fied ads or the telephone directory may profit as much as anything else from a good typo-graphical bath and a change of clothes. Well chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge, and skilll.Typography is a link, and it ought, as a matter of honor, courtesy, and pure delight, to be as strong as the others in the chain. Writing begins with the making of footprints, the leaving of signs. Like speaking, it is a perfectly natural act which have carried to complex extremes. The tools have altered over the centuries, and the exact of unnaturalness desired from place to place and time to time, but the character of the essential transforma-tion between manuscript and type has scarcely changed. It should honor the text for its own sake - always assuming that the text is worth a typographer’s trouble - and it should honor and contribute to its own tradition: that of a typography it self.

Regular 9/12

Yet, the typographers task is a little changed. It is still to give the

illusion of superhuman speed and stamina-and of superman patience and

preciscion-to the writing hand. Typography is just that : idealized writing. Writers themselves now

rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script

by their varying voices and literary styles.

Light 10/14

Light Italic 10/14

Light Shadowed 10/14

7.

Typography is to literature as musical performance is to

composition.: an essential act of interpretation, full of end-

less oppertunities for insight or obtuseness. Much typography

is far removed from literature, for language has many uses,

including packaging and propaganda. Like Music it can manipu-

late behavior and emotions. Typography at its best is a slow

performing art, worthy of the same informed appreciation that

we sometimes give to musical performances, and capable of

giving similar nourishment and pleasure in return. The typorga-pher’s one essential task is to interpret and communicate the text. Its tone, its tempo, its logical structure, its physical size, all determine the possibilities of its typographic form. The typographer is to the text as the theatrieatrical direc-tor to the script, or thr musician to the score. Every layer and level of the text must be consistent, distinct, yet (usually) harmonious in form.

Bolf Extra Condensed 18/30

Bold 12/30

Bold Condensed 12/24

Italic 12/24

Ultra Bold Condensed 11/18

Bold 11/14

Estra Bold Display 11/14

Ultra Bold 11/14

Shadowed 11/14

Regular 10

8.

The typographer must analyze and reveal the inner typog-raphy, and text as a musician must reveal the inner order of the music he performs. But the reader, like the listener, should in retrospect be able to close her eyes and what lies inside the words she has been reading.Regular 10/11

Shaping the page goes hand in hand with choosing the type, and both are permanent typographical preoccupations. Does the text suggest perpetual symemetry, perpetual asymmetry, or something

in between?This is the beginning, middle and end of the practice of typography: choose and use the

type with sensativity and intelligence.Aspects of this principle are explored throughout this book and

considered in detail.Italic 9/11

Letterforms have tone, timbre, character, just as words and

sentences do. The moment a text or typeface are chosen, two streams of thought, two

rythmical systems, two sets of habits or if you like, two per-

sonalities interact.Light 14/14

They need not live together contentedly forever but they mus not as a rule collide. When type is poorly chosen, what the words say linguisti-cally and what the letters imply visually are in visible terms.Condensed 14/16

There are always exceptions, always excuses for stunts and suprises. But perhaps we can agree that, as a rule, typography should perform these services for the reader.Bold 14/14

9.

One of the principles of durable typography is always legibility; anoth-er is something more than legibility; some earned or unearned intrest that gives its living energy to the page. It takes various forms and goes by vari-ous names, including serenity, liveliness, laughter, grace and joy. But laugfhter grace and joy, like legibiliy itself all feed on meaning, which the writer, the words and the subject, not the typographer, must generally provide. Bold Condensed 12/14

Whether the type is set in hard metal by hand, or softer metal by machine, or in digital form on paper

or film, every comma, every parenthesis, every e, and in context, even empty space has style as well as bald symolic value. Letters are microscopic works of art as

well as useful symbols. .Light 14/14

They mean what they are as well as what they say.Bold Extra Condensed 24

10.

Printed and Produced at: St. Edward’s UniversityTrustee Hall Room 108

Designed By: Gaby Flores

GillSansStd.

GillSansStd.

Printed on: Ink Laserjet Printer HP 5550 Color

Included Text:The Grand Design by Robert Bringhurst

Typeface Created: 1928

Typeface: Gill Sans Std.

GillSansStd.

GillSansStd.Typeface Designer:

Eric Gill (1922-1940)

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