Reflection#4 Book Project

For this assignment we had to make a book using our blog and class notes. The first step was process work using different typefaces at different point sizes and lettings. After looking at the print outs of 16 different fonts and sizing, I decided to use Arial for my main text in my book. I also liked the way Adobe Garamond and Cambria looked at 10 points with a letting at 17. I chose to use Arial because it was very legible at that point size and was darker than other fonts that I experimented with. The next step was to start designING the page layout using a 5 by 5 column grid. We used a dummy book as well to guide us with what content would go on each page. Designing each page with pictures and text is a great challenge. We needed our pages to be consistent with variations between pages. For my headings I used Adobe Garamond at 41 points in bold and italic for sub headings in order to create a hierarchy. The content from the blog was from a reflection, two insiprations. Planning text and incorporating the pictures with the grid was time consuming. The other content we needed to create the book was a title page, table of contents, glossary, and a colophone. When I finished everything and printed it out I kept finding mistakes that needed to be fixed. Finally after printing I chose my beginning and end paper I was going to use. Then with the black cover I was time to trim out the pages and make the book with a saddle stitch. Finally the book was complete and some of the stress and worry had gone away.


Resource: Jan Tschichold’s Sabon

Jan Tschichold was a trained calligrapher and worked with handmade paper and custom fonts. He taught at a teaching post during the reign of Hitler in Munich and was suspected to be a collaborator with communists and his books were seized by the Gestapo inorder to protect the German people. He managed to escape to Switzerland in 1933. When he was in England from 1947 to 1949 he worked on designing books for Penguin. He popularized the Van de Graaf canon in book design to divide pages in balanced proportions. He found the proportions from a medieval manuscript. He was a great innovator of modern design and favoured non centered design on title pages. He made effective uses of different sizes and weights of type to easily convey information. His book on design called Die neue Typographie is a classic. In 1932 he started back into classicism using classical Roman typefaces in print design. He latter thought that his modern design method was to extreme, authoritarian , and fascist then started to condemn modernist design. He was in charge of directing the redesign of 500 books for Penguin Books and used a standerdised set of typographic rules known as the Penguin composition rules. In 1967 he released his Sabon typeface. He tried to change the spelling by replacing eu with oi, w with v, and z with ts. His other typefaces include Transit, Saskia, and Zeus.

Resource: Kurt Schwitters

Kurt Schwitters was a German artist from Hanover. He worked in different genres and media like Dada, Constructivism, Surrealism, poetry, sound, painting,sculpture, graphic design, typography, and installation art. He famous for his collages called Merz Pictures.SAhcwittersMerzbau

He studied at Dresden Academy and started his career as a post-impressionist. In 1918 his art changed because of Germany’s economy after the war. Shcwitters dubbed Merz after a fragment of text in his picture Das Merzbild. By 1919 he had rissen to fame after his one man exhibition at the Der Sturm gallery. Shwiiters used Dada influence in his work. Merz is considered a pshychological collage and his work is an attempt to make sense of the world after the war.  Some of his works were usually collages of found objects like bus tickets, old wire, and newsprints. As Germany’s economy became more stable his work was less influenced by Cubanism and Exspressionism. He then became involved with the avante­‑garde.


Resource: Sibylle Hagmann

Sibylle Hagmann began her career in Switzerland after earning a B.F.A. from the Basel School of Design in 1989. She explored her passion for typography and type design while completing her M.F.A. at the California Institute of the Arts in 1996. Before relocating to Houston in 2000 she was the director of graphic design and publications for the School of Architecture at the University of Southern California in Los Angeles, and taught at several southern Californian schools. In 1999 she completed the typeface family Cholla originally commissioned by Art Center College of Design and released by the digital type foundry Emigre in the same year. Cholla was among the winning entries of bukva:raz!, the type design competition of the Association Typographique Internationale (ATypI) in 2001. The typeface family Odile was released in 2006 and was awarded the Swiss Federal Design Award in the same year. Her work has been featured in several publications and recognized by the Type Directors Club of New York. She has presented her work nationally and internationally including the 2003 and 2006 TypeCon typography conferences and at Just The Type, an international type design conference at the Minneapolis Institute of Arts in 2001. Hagmann founded her Houston based design studio Kontour in 2000. She works for clients such as the CORE Program, The Museum of Fine Arts, Houston; Dallas Museum of Art, and the University of Southern California (USC), Los Angeles, among others. She teaches at the University of Houston in the graphic communication program.

Resource: Alessandro Butti

Alessandro Butti was an Italian type designer who worked in Turin where he was an art director of the Nbilo type foundry. He is most famous for the Microgramma typeface. His typefaces include Quirinus, Landi Echo, Athenaeum, Normandia, Rodine, Augustea, Fluidum, and Cigogna. Alessandro Butti worked for the Bebiolo Printech type foundry which was created when Giovanni Bebiolo bought out Narizzanno’s type foundry in 1852. In 1908 the company became Austea and began to expand. In 1916 it was renamed Societta Nebiolo. But in 1978 Fiat bought the business, giving the operations over to Italiana Caratteri. Nebiolo Printech has created a large collection of typefaces that are still popular today. Nebiolo types were distributed to the U.S. by Continental type Founders Association. In 1952 Aldo Novaerse became the art director. For resources Alessandro Butti has created a number of typefaces that are great to admire and promote inspiration to us future designers. His legacy lives on through the typefaces he has created. You can find his typefaces that are available on the OurType foundry website. This website is full of all the great European typefaces designed by most of your famous European typographers lost but not forgotten. Microgramma



Inspiration: Pique/Type foundry

This Pique typeface by the type foundry is a great inspiration for those interested in typography. This type face is very unique and interesting because it looks like a brush stroke but at the same time looks like a well designed typeface. The typeface has a very thick and bold look but for many situations this typeface could be the right chose depending on the purpose that the typeface is serving and what message is being sent to the viewer. This typeface is a great example of different things people can achieve when creating a typeface and how original people can be with their typefaces. This typeface used for advertising could make your advertisement  look different and stand out. What is so unique about it is its balance to look like its organic and natural however it has all of the characteristics of a balanced well designed typeface. I think that these in between  typefaces take a long time to design and took a lot of determination and motivation to finish something in the end with such balance between natural and a sophisticated typeface.


Research: Anthony Froshaug

Anthony Froshaug was an English typographer and a designer from London and his father was Norwegian. He was greatly Influenced by European modernism. Froshaug is considered a great influence for modern typography in Britain. In 1939 he did freelance graphic design and typography. He taught typography at the Royal College of Art in London and at the Hochschule für Gestaltung Ulm. Froshaug preferred an expreimental working environment with the opportunity to work in collaberation with others rather than a formal environment.