confident
gleeful
enthusiasticThursday, February 18, 2010
Tuesday, February 16, 2010
Graphic Composition
I found this ad for Graphic Composition in "Communication Arts," Volume 28, 1986 on page 35. This ad was for Graphic Composition typesetting company. This ad used humor to promote their services and they also included an example of how their services could help benefit the designer who would use their product. The funny picture that is placed at the top of the ad is very humorous and the caption helps tie the humor of the photo because the photo really had no relation to what their company does. The example on the side of bad typesetting was helpful to their ad as well to demonstrate how their services could be beneficial.
Wednesday, February 10, 2010
Univers Type Specimen Copy
Adrian Frutiger created Univers font in 1956.As a student in Zurich, Adrain Frutiger began work on Univers Typeface, which would eventually be released in 1957 by Deberny & Peignot Foundry in Paris. The font was to be promoted international so, Deberny & Peignot chose to name the typeface Univers, but the name originally was going to be Monde. The design is a neo-grotesque, similar to its contemporary, Helvetica, and was released in suspense to the same perceived need for a utilitarian, versatile sans serif workhorse. Univers Typeface was the first to use numbers rather than names to to designate variations of weight, width and slop. At the time the full Univers family consised of twenty-one typefaces, but today there are over twenty-seven different variations of Univers available. All twenty-one Univers faces were designed to work together so they can be mixed in a variety of ways. Univers is an extremely diverse typeface that has the ability to work well for a large variety of applications, from text and headlines to packaging and signage.
Adrain Frutiger planned and realized a font family as a connected conceptual system, the twenty-one Univers alphabets. The look of this new font was fresh and contemporary, a result of the calculations of thaw stroke width and the relationship between the stroke and th surrounding white space.
Currently, Univers type family consists of 4 faces, with 16 uniquely numbered weight, width, position combinations. Twenty fonts have oblique positions, eight fonts support Central European character set and eight support critic character set.
Due to some typeface manufacturers’ failure to understand and implement the system correctly, however, things have actually become more confusing (some Helvetica Neue fonts are numbered, for example, and some are not).
The system, as simply stated as possible, consists of a prefix (the first numeral) which defines weight, and a suffix (the second numeral) which defines width and orientation as to roman or italic. The prefix indicates the weight, beginning with "2", as in Univers 25 (ultra light), and progressing up to "9", as in Univers 95 (black). Very infrequently, the weight will go up to "10".
The suffix indicates the width and/or angle (even numbers are always italic, odd numbers are always upright; numerals less than 5 indicate extended, and numerals greater than 6 are always condensed) of the font.
Prefixes
1. Ultra Light
2. Thin
3. Light
4. Normal, Roman, or Regular
5. Medium
6. Bold
7. Heavy
8. Black
9. Ultra or Extra Black
Suffixes
1. Ultra Extended
2. Ultra Extended Oblique (Italic)
3. Extended
4. Extended Oblique (Italic)
5. Normal
6. Oblique (Italic)
7. Condensed
8. Condensed Oblique (Italic)
9. Ultra Condensed
Univers is a Sans-Serif Typeface. The letters are even and have a look of being squarish. The strokes are even in weight until you come across the lower case letter. The lower case letters: a, b, d, g, h, m, n,p, q, r, u have a light contrast in weight of the letters. The contrast is mostly were the bowl connects with the main line, descender, or ascender. When looking at the "o", the stress is vertical. The t, has a slant cut at the eery tip. The "i" and "j" of the lower case letters have square dots instead of circle dots. All edges of the lower case and upper case letters are squared off.
Adrain Frutiger planned and realized a font family as a connected conceptual system, the twenty-one Univers alphabets. The look of this new font was fresh and contemporary, a result of the calculations of thaw stroke width and the relationship between the stroke and th surrounding white space.
Currently, Univers type family consists of 4 faces, with 16 uniquely numbered weight, width, position combinations. Twenty fonts have oblique positions, eight fonts support Central European character set and eight support critic character set.
Due to some typeface manufacturers’ failure to understand and implement the system correctly, however, things have actually become more confusing (some Helvetica Neue fonts are numbered, for example, and some are not).
The system, as simply stated as possible, consists of a prefix (the first numeral) which defines weight, and a suffix (the second numeral) which defines width and orientation as to roman or italic. The prefix indicates the weight, beginning with "2", as in Univers 25 (ultra light), and progressing up to "9", as in Univers 95 (black). Very infrequently, the weight will go up to "10".
The suffix indicates the width and/or angle (even numbers are always italic, odd numbers are always upright; numerals less than 5 indicate extended, and numerals greater than 6 are always condensed) of the font.
Prefixes
1. Ultra Light
2. Thin
3. Light
4. Normal, Roman, or Regular
5. Medium
6. Bold
7. Heavy
8. Black
9. Ultra or Extra Black
Suffixes
1. Ultra Extended
2. Ultra Extended Oblique (Italic)
3. Extended
4. Extended Oblique (Italic)
5. Normal
6. Oblique (Italic)
7. Condensed
8. Condensed Oblique (Italic)
9. Ultra Condensed
Univers is a Sans-Serif Typeface. The letters are even and have a look of being squarish. The strokes are even in weight until you come across the lower case letter. The lower case letters: a, b, d, g, h, m, n,p, q, r, u have a light contrast in weight of the letters. The contrast is mostly were the bowl connects with the main line, descender, or ascender. When looking at the "o", the stress is vertical. The t, has a slant cut at the eery tip. The "i" and "j" of the lower case letters have square dots instead of circle dots. All edges of the lower case and upper case letters are squared off.
Wednesday, February 3, 2010
Tuesday, February 2, 2010
Nike
I found this Nike ad from the 1970s in "Communication Arts," Volume 20, 1978-79 on page 21. It was an ad that was part of an article on consumer magazine ads. The idea behind this ad was to promote running and how society had become much more reliant on vehicles and because of that they were becoming out-of-shape. The use of the photograph at the top is very strong and helps carry the idea and message of the ad. The header "Man vs. Machine" also reinforces the message of Nike. I understand what they were thinking with the body copy by indenting certain key phrases, I feel that it looks a little awkward and breaks up the flow.
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