Hillier_typography

typography

PORTFOLIO

2 PORTFOLIO WINTER 2013

TABLE OF CONTENTS

COVER... bira and copperplate gothic boldLOGO... arual and futura condensed medium

UBIQUITIOUS TYPE... times, modern no. 20, minion, and bakersville

SKETCH BOOK... gil sans and mokshaSNAP... gil sans

MONACO... devanagari sangam MN, futura condensed medium, medium italic, and rocket script

TYPE POSTER... futura, condensed medium, medium italic and condensed extra bold

PORTFOLIO WINTER 2013 3

MICHAEL HILLIER gr aph i c de s i gn


“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence.”

choose if only we know the paths are there and have a sense of where they lead.That freedom is denied us if the tradition is concealed or left for dead. Originality is everywhere, but much originality is blocked if the way back to earlier discoveries is cut or overgrown. If you use this book as a guide, by all means leave the road when you wish. That is pre- cisely the use of a road: to reach individu- ally chosen points of departure. By all means break the rules, and break them beautifully,

deliberately, and well. That is one

of the ends for which they exist.Letterforms change constantly, yet differ very little, because they are alive. The principles of typographic clarity have also scarcely altered since the second half of the fifteenth century, when the first books were printed in roman type. Indeed, most of the principles of legibility and design explored in this book were known and used by Egyptian scribes writing hieratic script with reed pens on papyrus in 1000 B.C. Samples of their work sit now in museums in Cairo, London and New York, still lively, subtle, and perfectly legible thirty centuries after they were made.Writing systems vary, but a good page is not hard to learn to recognize, whether it comesset for themselves than with the mutable or Renaissance Italy. The

principles that unite these distant schools of design are based on the structure and scale of the human body the eye, the hand, and the forearm in particular and on the invisible but no less real, no less demanding, no less sensuous anatomy of the human mind. I don’t like to call these principles universals, because they are largely unique to our species. Dogs and ants, for example, read and write by more chemical means. But the underlying principles of typography are, at any rate, stable enough to weather any

number of human fashions and fads.

Thus with an independent

existence. Its heartwood is calligraphy the dance, on a tiny stage, of. It is true that typographer’s tools are presently changing with considerableforce and speed, but this is not a manual in the use of any particular typesetting system or medium. I suppose that most readers of this book will set most of their type in digital form, using computers, but I have no preconceptions about which brands of computers, or which versions of which proprietary software, they may use. The essential elements of style have more to do with the goals the living, speaking han and its roots reach into living soil, though its branches may be hung each year with new machines. So long as the root lives, typography remains a source of true delight, true knowledge,true surprise.


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nap Snap is experimenting with type on a page. during the stages of the snap I feel that I grew stronger with my bold creativity. while using small font against huge font, I found that more attractive in my snaps, also more atractive to my viewers. I strongly feel that snap has taught me very well in understanding how to place text on a page. With these experimentations, snap encourages me to become more creative when it comes to typography.

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MONACOPoster


TYPEPoster


FUTURAFutura is a geometric sans-serif typeface

designed in 1927 by Paul Renner. It is based on geometric shapes that

became representative of visual elements of the Bauhaus design style of 1919–1933. Commissioned by the Bauer Type Foundry, in reaction to Ludwig & Mayerʼs seminal Erbar of 1922, Futura was commercially released in 1936. The family was originally cast in Light, Medium, Bold, and Bold Oblique fonts in 1928. Light Oblique, Medium Oblique, Demibold, and Demibold Oblique fonts were later released in 1930. Book font was released in 1932. Book Oblique font wasreleased in 1939. Extra Bold font was designed by Edwin W. Shaar in 1952. Extra Bold Italic font was designed in 1955 by Edwin W. Shaar and Tommy Thompson. Matrices for machine composition were made by Intertype. Although Renner was not associated with the Bauhaus, he shared many of its idioms and believed that a modern typeface should express modern models, rather than be a revival of a previous design.

Rennerʼs initial design included several geometrically constructed alternative characters and ranging (old-style) fi gures, which can be found in the typeface Architype Renner.Futura has an appearance of effi ciency and forwardness. The typeface is derived from simple geometric forms (near-perfect circles, triangles and squares) and is based on strokes of near-even weight, which are low in contrast. This is most visible in the almost perfectly round stroke of the o, which is nonetheless slightly ovoid. In designing Futura, Renner avoided the decorative, eliminating non-essential elements. The lowercase has tall ascenders, which rise above the cap line. The uppercase characters present proportions similar to those of classical Roman capitals. The original Futura design also included small capitals and old-style fi gures, which were dropped from the original metal issue of the type. The digital versions of these glyphs were fi rst produced by Neufville Digital under the Futura ND family.

1928

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