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Type Specimen
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A Type Specimen
Designed and edited by Erica Stivison
Published 2008
GDES 1314 Typography I
Text by Elliott Earls
iad Proiad Pro
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As theletterformprogresses through successive stages o development and
reinement, the process becomes increasingly optical. When the impulse or the
idea or a ont springs primarily rom optical phenomena, such as mark making,
drawing, handwriting, or manipulation o ormal elements, it may be considered
to have sprung rom exclusively ormal extrapolation.The resolution o a ont, the
successive development and reinement, is always an optical endeavor.
Letterformsare in large measure governed by social contract and simple
optical principles, such as the ones preached by our now debased and debunked
High Priest o Visual Thinking, Rudol Arnheim. And while there are obviously ar
hipper and much more contemporary developments with in cognitive science and
perceptual psychology, issues o balance, harmony, scale, as well as principles o
gestalt, all have a bearing on the unction and legibility oletterforms.
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r rmletterformsletterforms
letterormsletterforms
letterformsletterforms
letterforms
letterforms
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Light
Black
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Italic
Bold SemiCondensed
SemiExtended
Black SemiExtended
Light Condensed
Semibold
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f
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The simple process of making
marks on paper is less of an intellec-
tual process than a biological pro-
cess. One must cultivate a feel for
proportion, solidity, balance, etc.Excuse the digression, but when I
talk about developing a feel, I know
that some of you are rolling your
eyes. Some of you may think that
the term feel might be likened tothe term taste, with all of its class
overtones and attendant critiques.
Well, back the f@*k up.
i
j
l
j6
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i
fl
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Im suggesting that one develops a eel not magically, or through
attendance at the nest schools, but through rigorous application, and
through working damn hard at acquiring a set o very concrete skills,
then orgetting them. And what would those skills be to which one must
dedicate him or hersel only to eventually orget?
Manipulative skills, rst person, hand/
eye-coordinated, fesh-based skills. What
in jazz they call chops, and in design they
call undamental graphic exercises line
rhythms, gradation, and gure/ground
studies.
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repertoire,theory,
andphysical
application
Music is the appropriate metaphor. In music, rigorous study o
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yy yySemibold Italic 14/19 Bold SemiExtended Italic
If at this pointyou feel the need to accuse me
of antiintellectualism,y
oud be barking up the
wrong tree. Im an advocate of practice in-
formed by theoryand life. Its reallya question
of priorities and balance. And Id like to be clear
here. I am not suggesting that the ty
pe design
process necessarilyadheres to a strict taxonom-
ic progression. And Im certainlynot an advo-
cate of a rigid categorical approach to design of
anyform. Quite the contrary
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y
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Its my contention that the edge condition, the tension
that exists in the gap, is where the action is. But for the
designer interested in beginning to come to grips with
letterform design, locating ones work within the three
categories described above is often helpful.
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The question I am most often asked by students is some variationof the following:
Where do you begin?
How do you get an idea or a concept for a typeface?Light Condensed Italic 26 pt
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My answer is twofold.
First, one should never use the
term concept in same sen-
tence as the word typeface.
Typefaces are not concep-
tual, they are formal (1).
Second, I tell them to study examplessuch as Zuzana Lickos Mrs. Eaves, whichis an excellent example of an historical
revival; Christian Schwartz Los Feliz, whichis an excellent example of vernacularreinterpretation; and Frank HinesRemedy, which is based on pure formalextrapolation.
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But as they say, God (or the
Devil, or possibly both) is in thedetails. Quite possibly the big-gest challenge facing type de-signers who are just starting out
is that most cannot see, nor canthey draw (I should amend thatslightly; most havent looked,
nor can they draw.)Light SemiExtended 20/2114
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Students who begin drawing typefaces must rst learn to look at type-
faces. I am often shocked and amazed at my students rst attempts to
construct, for instance, the termination of a stroke. It usually involves a
student using Fontographer. And when looking closely at the letter-
form, one often notices a complete lack of rigor, coupled with a hyper-
kinetic line quality, which almost always leaves me with the impression
that Im teaching type design to a class of methamphetamine addicts.
(Which I have found is usually not the case.) One need look no further
than the plenitudinous oerings of foundries such as T-26 or Garage
Fonts to nd textbook examples of this undisciplined methamphet-
amine line.
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Myriad Pro
Erica Stivison
Printed at St. Edwards University
HP Color Laser Printer
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