Unit 5 (chapter 24) History of Graphic Design

Matthew Carter

1990, Emigre Fonts began receiving many idiosyncratic and novel fonts from outside designers. 1) Licko and VanderLans recognized the inherent formal inventiveness and originality of many of these submissions and began to license and distribute the designs. 2) Often these fonts proved extremely controversial (Fig. 24-28), even as they were rapidly adopted and extensively used in major advertising campaigns and publication designs. 3) Later in the decade Licko designed two significant revivals: A) Mrs Eaves, an exemplary interpretation of John Baskerville's Eighteenth-century transitional fonts (8-14 to 8-17) B) Filosofia, which captures the spirit of modern-style fonts (8-23 and 8-24) while actually resolving some of the legibility issues inherent in the eighteenth-century originals. The digital type foundry decentralized and democratized the creation, distribution, and use of type fonts. 1) 1990s access to typography increased, and experimental and novelty typefaces proliferated. 2) Excellent and mediocre versions of traditional typefaces were released, and the glut of new designs included unprecedented innovations along with ill-conceived and poorly crafted fonts. 1955 until 1957 ________ ______ 1) learned to cut punches for metal type by hand at the type foundry of the Enschedé printing house in the Netherlands. 2) over 40 years, Carter has continued to design scores of typefaces as typographic technology has evolved from metal type to phototype and digital type. A) Regarded to be the most important type designer of modern time, his work is used daily by millions of people. 1960 he visited New York, where he was greatly inspired by the advanced, inventive typography of Herb Lubalin and others in the New York graphic design world. 1) returned to London, produced a number of sans-serif faces with Alan Fletcher, Colin Forbes, and Bob Gill. During an association with Linotype from 1965 to 1981. Carter's designs included: 1) Bell Centennial created for early high-speed digital and cathode ray tube (CRT) technology. i) It was designed for outstanding legibility in telephone directories using small type on coarse newsprint. 1) After cofounding and directing the type-design activities of the Bitstream digital foundry he formed Carter & Cone Type of Cambridge, Massachusetts. He has the ability to combine classic qualities with modern aesthetics and produces outstanding fonts that make profound references to earlier models (24-29). 1) Galliard: designed for Mergenthaler Linotype in 1978 and issued in four weights with italics, is a masterful adaptation of a 16-century design by Robert Granjon. 2) Mantinia: a titling face inspired by painted and engraved capital letters by the Renaissance painter Andrea Mantegna. 3) Sophia: an original display typeface inspired by hybrid alphabets of capitals, Greek Letterforms, and uncials from 6th-century Constantinople; it contains ten joining characters that fuse with other letters to form ligatures. 4) While there are many 20th-century revivals of William Caslon's text types, his vigorous and somewhat eccentric display types had not been redesigned for digital typesetting until Carter released his Big Caslon CC. Matthew Carter's typeface Walker (24-30), designed for the Minneapolis-based Walker Art Center, provides a striking example of expanding typographic possibilities. i) Sturdy sans-serif capitals have a series of 5 add-on serifs Carter called "snap-on (née Deputy) serifs," which can be attached at will to the vertical strokes of each letter; further, these are available in a variety of widths. ii) also designed a series of ruled lines running over, under, or both under and over the letters, linking their forms into a dynamic unity. Of the basic letterforms, Carter said, "I think of them rather like store window mannequins with good bone structure on which to hang many different kinds of clothing." Ligatures and alternate characters complete a character set, allowing the Walker Art Center To modulate forms to suit the message at hand (24-31). The typeface, as it functions through various permutations, becomes the corporate identity. Laurie Haycock Makela, Walker's design director from 1991 until 1996, and Matt Eller, a senior designer who became design director in 1996, used the Walker system to achieve a freedom of typographic expression appropriate to a center for art, design, and performance. 1) 2004, designed Yale, a signage typeface for Yale University, and refined the identity typeface for the Museum Of Modern Art (MoMA) in New York. i) Yale was inspired by a Venetian typeface that first appeared in Pietro Bembo's De Aetna, published by Aldus Manutius. ii) Although it was initially designed for signage, the new version now includes roman and bold italic fonts appropriate for print and the Web. iii) new typeface is indicative of Yale University's deep-rooted commitment to fine typography, while contributing to Yale's Contemporary graphic identity (24-32 to 24-34). September 2010, Matthew Carter made history by being the 1st type designer to be awarded a MacArthur Fellowship, which is commonly known as a "genius grant."

Adobe Systems' PostScript, desktop publishing

_______ _________ ______ page description language enabled printers to output text, images, and graphic elements, and determine their placement on the page. 1) PostScript fonts are not simply made up of bitmapped dots; rather, they are stored as graphical commands and data. 2) Type characters are generated as outlines that are then filled in as solid forms. A) curved lines of the characters are formed of Bézier splines (named for mathematician Pierre Bézier), these are mathematically generated nonuniform curves (in contrast to curves with uniform curvature, called arcs) defined by 4 control points. B) Bézier curves can create complex shapes with smooth endpoints, making them particularly useful for creating letterforms (24-2) and computer graphics. 1985, Apple Computer introduced its 1st laser printer, whose 300-dpi output of PostScript fonts enabled its typographic proofs to more closely duplicate typesetting. 2) Controversy about resolution quality ended after the arrival of 600-dpi laser printers and high-resolution image-setters such as the Linotron, capable of either 1,270or 2,540- dpi output. Page-layout programs made possible by PostScript permitted the design of complete pages on the screen. 1) 1984, Paul Brainerd formed a company called Aldus (after Aldus Manutius) to develop software enabling newspapers to produce advertisements more efficiently. 2) July 1985, Aldus introduced PageMaker software for the Macintosh Computer. A) PageMaker could alter type size, choice of font, and column dimensions. B)It integrated text type with other elements, such as scans of pictures, ruled lines, headlines, and borders. C) A desktop metaphor enabled the user to create elements on the computer screen and then position these on the page in a manner similar to the traditional way elements are prepared and pasted into position for offset printing. Brainerd coined the term ________ ________ for this new method. Desktop publishing 1) saved significant amounts of time and money in preparing pages for printing. 2) Procedures including layout, typesetting, making position photostats, and pasting elements into position were all combined into a seamless electronic process. 3) A comparison can be made to George Eastman's invention of the Kodak camera. Just as photography was wrested from the exclusive use of specialists and made available to the general public in the 1880s, typography left the exclusive domain of professionals and became accessible to a larger sphere of people in the 1980s. Earlier digital hardware included digital typesetting systems, powerful electronic image processors such as Scitex Systems (which electronically scanned images and permitted extensive editing), and Quantel Video and Graphic Paintboxes (permitted precise color control and allowed images to be overlapped, combined, and altered). 1) LightSpeed system was a sophisticated early page-layout machine. 2) All of these systems were very expensive and rarely available to designers for experimentation; the profound significance of Macintosh Computers and software stems from their broad accessibility to individual graphic designers and laypersons. By 1990, color-capable Macintosh II computer and improved software had spurred a technological and creative revolution in graphic design as radical as the 15-century shift from hand-lettered manuscript books to Gutenberg's Movable type. 1) unprecedented expansion of design education and professional activity produced a larger field with vast numbers of trained practitioners. 2) number of individual designers and firms producing fine work rose exponentially. 3) digital technology also enabled untrained and marginally trained practitioners to enter the field.

Paula Scher

________ ________ 1) draws upon historical models while transforming them into her own unique form of expression. 2) Her poster for the Public Theater's productions of Bring in 'da Noise, Bring In da Funk; Hamlet and Hair; and Twelfth Night and The Bacchae, are refined and more expressive versions of 19th-century typographic posters combined with the playful spirit of Dada (24-79 to 24-81). Jennifer Morla 2) founded Morla Design in 1984. i) Since the studio's founding, she has engaged in all facets of design, including branding, print, packaging, motion graphics, environmental design, and typography. 2) has won over 300 awards of excellence and was admitted to the prestigious Alliance Graphique Internationale in 1998. 3) is known for her ability to combine wit and aesthetics with business pragmatics (24-82 and 24-83). i) clients: Levi Strauss, Herman Miller, and AIGA, among many others. 4) serving as Morla Design's president and creative director, she also assumed the position of chief marketing officer for Design Within Reach in 2006. 5) She has exhibited widely and her work is part of the permanent collections of the Museum of Modern Art (New York), the San Francisco Museum of Modern Art, the Denver Art Museum, and the Library of Congress. 6) teaches at the California College of the Arts and lectures internationally. Nancy Skolos and Thomas Wedell, a husband-and-wife team of photographer and graphic designer, "work to diminish the boundaries between graphic design and photography-creating collaged 3D images influenced by modern painting, technology and architecture. 1) This unique collaboration, as well as the dialogue between the makers themselves and the pieces being made, is a process of continuous curiosity and discovery." 2) Their body of work includes posters, corporate identities, books, exhibits, Web sites, and videos for mainly high-technology clients. i) intense energy, vibrant color, and textures of their pieces deftly evoke the spirit of technology itself (24-84). 3) In addition to their studio work, they both teach graphic design at the Rhode Island School of Design. Hans Dieter Reichert 1) studied graphic design and visual communication with Willi Fleckhaus at the Universities of Essen (Folkwang School) and Wuppertal 2) graduated from the London University of the Arts 3) He worked at BRS Premsela & Vonk with Guus Ros and at Total Design with Jelle van der Toorn Vrijthoff before returning to London to work at the London design company Banks & Miles, Ltd., for 5 years. 4) 1993, launched his own company, HDR Visual Communication and 1995 he cofounded Bradbourne Publishing, Ltd. i) Here He began the remarkable quarterly international typographic magazine baseline (24-85), for which he serves as publisher, editor, art director, and designer. 5) Book designs by HDR Visual Communication include Alexey Brodovitch, by Kerry William Purcell, Steven Heller's 1999 monograph Paul Rand, and Merz to Emigre and Beyond, also by Heller.

Adobe Systems' PostScript

Adobe Systems' PostScript page description language enabled printers to output text, images, and graphic elements, and determine their placement on the page. PostScript fonts are not simply made up of bitmapped dots; rather, they are stored as graphical commands and data. Type characters are generated as outlines that are then filled in as solid forms. The curved lines of the characters are formed of Bézier splines. Named after the French mathematician Pierre Bézier (1910-99), who invented them, these are mathematically generated nonuniform curves (in contrast to curves with uniform curvature, called arcs) defined by four control points. Bézier curves can create complex shapes with smooth endpoints, making them particularly useful for creating letterforms (Fig. 24-2) and computer graphics. In 1985, Apple Computer introduced its first laser printer, whose 300-dpi output of PostScript fonts enabled its typographic proofs to more closely duplicate typesetting. A controversy about resolution quality ended after the arrival of 600-dpi laser printers and high-resolution image-setters such as the Linotron, capable of either 1,270- or 2,540-dpi output. By providing designers with new processes and capabilities, new technology often enabled them to create unprecedented images and forms. While many designers rejected digital technology during its infancy and derided those designers who chose to explore it, many others embraced it as an innovative tool capable of expanding the scope of the field of graphic design as well as the very nature of the design process. Using a computer as a design tool enabled one to make and correct mistakes. Early pioneers who embraced the new technology and explored its creative potential include Los Angeles designer April Greiman (b. 1948), Emigre magazine designer/editor Rudy VanderLans (b. 1955), and typeface designer Zuzana Licko (b. 1961). Greiman explored the visual properties of bitmapped fonts, the layering and overlapping of computer-screen information, the synthesis of video and print, and the tactile patterns and shapes made possible by the new technology. In her first graphic design using Macintosh output (Fig. 24-3), bitmapped type and computer-generated textures were photostatted to a large size and pasted up through conventional typesetting.

a

Among other advanced techniques, Flash, XML, and Java Script give designers the opportunity to make any Web site wholly distinctive. 1) Interactive components, videos, and even games can be incorporated. Early on, April Greiman recognized the potential of the Internet as a new creative medium. 1) explored and developed new technologies in pursuit of a visual vocabulary that would enliven the virtual canvas. 2) her design for the RoTo Architects Web site exists as a dynamic extension of her unique vision (Fig. 24-52). An emerging interactive design firm, Render Monkey was founded in 2006 by Amelle Stein and Sastry Appajosyula. 1) Their work combines creative interface design with inventor programming, providing for fluid, streamlined navigation through multiple, complex layers of information. 2) Their focus on the user experience extends to interactive solutions for mobile, online, and offline designs as well as architectural spaces. 3) Render Monkey's design for the exhibition Color Chart at the Museum of Modern Art allows users to interact with various interfaces for a customized approach to accessing dynamic content (24-53 and 24-54).

Carol Twombly

Carol Twombly (b. 1959) and Robert Slimbach (b. 1956) emerged as outstanding staff typeface designers at Adobe, creating original designs and respected digital adaptations of classic typefaces. Twombly's typefaces include three masterful families (Fig. 24-25) inspired by historical lettering. These were the first three display fonts in the Adobe Originals type program, a series of new designs created for digital technology. Charlemagne is freely based on the decorative capitals used as versals and titling in Carolingian-era illuminated manuscripts. Lithos was inspired by the monoline simplicity and even-textured economy of Greek stone inscriptions, but Twombly transformed these carved letters into a highly original family of five weights, each with inventive characters and a distinctive appearance. After its release, Lithos was adopted for on-screen graphics by the MTV cable-television channel and became wildly popular. The inscription on Trajan's Column (see Fig. 2-17) has inspired numerous fonts, including Twombly's version. Her font closely paraphrases the source, but the conversion from stone to a typeface required a less heavy N, a bolder S, and more prominent serifs. In 1992, Adobe released its first multiple-master typefaces. Two or more master designs combined to generate an extensive sequence of fonts. The master designs determined the range of fonts that could be generated through changes in a design axis. The design axis controlled weight, determined by stroke thickness and the resulting ratio of black form to white background; width, determined by making the letters wider (expanded) or narrower (condensed); style, in which visual attributes, ranging from no serifs to large serifs or wedge-shaped serifs to slab ser- ifs, were altered; and optical size, involving subtle adjustments in proportion, weight, spacing, and contrast between thick and thin elements, optimizing legibility and design. Myriad, a two-axis sans serif (Fig. 24-27), was one of the first multiple master fonts. Twombly and Slimbach executed the actual drawing and digitization over a two-year period. 25.17: Myriad typographer 24.25: Lithos, Charlemagne, Trajan Vernacular design -Greek typography

David Carson

During the early 1990s, accelerating progress in computers, software, and output devices enabled graphic designers to achieve results virtually identical to those of conventional working methods, for the promise of seamless on-screen color graphics had been fulfilled. While designers explored the unprecedented possibilities of computers and graphics software, at the same time a renewed interest in handmade and expressionist lettering and images was growing. QuarkXPress, another page-design application, enabled designers to place elements on a page in increments of one hundred-thousandth of an inch and to kern type in intervals of one twenty-thousandth of an em (a horizontal measurement equivalent to the width of the letter m). Adobe Photoshop, an application initially developed for electronic photographic retouching, enabled unprecedented image manipulation and creation. New developments migrated from individual exploration and design education to the mainstream as editorial designers for specialized magazines applied computer experimentation to their pages. David Carson (b. 1956), a former professional surfer and schoolteacher, turned to editorial design in the 1980s. Carson eschewed grid formats, information hierarchy, and consistent layout or typographic patterns; instead, he chose to explore the expressive possibilities of each subject (Fig. 24-11) and each page or spread, rejecting conventional notions of typographic syntax and imagery. As art director and designer for Transworld Skateboarding (1983-87), Musician (1988), Beach Culture (1989-91), Surfer (1991-92), and Ray Gun (1992-96), Carson flouted design conventions. American gd, art director, and surfer innovated magazine design and use of experimental typography style called Grund: 80-90 worked as teacher at Torrey Pines High School 9th best surfer in world Took design class in Switzerland did work for transworld skateboard and Snowboard magazine Often sacrificed legibility 1992: RayGun magazine art director 24.12 -abstract, text running into gutter and columns touching each other During the 1990s, many designers energized their work through advanced computer graphics. New directions migrated from personal exploration and design education to the mainstream as editorial designers for specialized magazines applied computer experimentation to their pages. As art director/designer for Transworld Skateboarding (1983-1987), Musician (1988), Beach Culture (1989-1991), Surfer (1991-1992), and Ray Gun (1992-1996), ____________ shunned grid formats and a consistent approach to typographic layout. Instead, he chose to explore the expressive possibilities of each subject and each page or spread, rejecting conventional notions of typographic syntax, visual hierarchy, and imagery. In the 1994 article "Morrissey: The Loneliest Monk," in Ray Gun (Fig. 24-14), the unusual photographic cropping and deconstructed headline convey the musician's romanticism and mystery.

Sumner Stone

Early digital type-design systems, such as the pre-PostScript Ikarus system used in the 1980s by typesetting machinery manufacturers, were very expensive. When font-design software for desktop computers—for example, Fontographer— became available, it enabled designers to design and market original typefaces as electronic files on computer disks, with significant reductions in the high cost of designing and distributing fonts. A virtual explosion in the release of new typefaces occurred in the 1990s, as large type vendors were joined by independent type manufacturers. Adobe Systems became a prolific and influential digital type foundry. An early type family developed for its PostScript page-description language was Stone (Fig. 24-24), designed by Sumner Stone (b. 1945). Trained as both a calligrapher and a mathematician, Stone was type director of Adobe Systems before opening his own type foundry in 1990. The Stone family has three versions—serif, sans-serif, and informal—that share basic letterform proportions and structure. Each version has three roman and three italic fonts, for a total of eighteen typefaces in the family. At that time, reproduction quality of 300-dpi laser printers was a major factor for consideration in the type family's character designs. Since the release of Stone, advances in technology have made possible the design of "superfamilies" of type, such as Stone's Magma, which has forty-eight variants within the family. stone family font (adobe) A) same font including sanserif typographer

Interactive media, Internet

Interactive media, the Internet, and the World Wide Web _______ ________ are a combination of audio, visual, and cinematic communications, connected to form a coherent body of information. 1) Unlike books or films, which present information in linear sequences, interactive media have nonlinear structures, allowing each viewer to pursue information along a personally chosen path. 2) Interactive media are usually created by teams of professionals, including audiovisual specialists, writers, computer programmers, content specialists, directors, graphic designers, information architects, image-makers, and producers. In contrast to printed communications that are finalized after they emerge from the printing press, interactive media programs are open-ended. Unlimited revisions are possible, and content can be continuously added or modified. 1) VizAbility was an early interactive CD-ROM program that taught concepts relating to visual perception and helped users develop heightened visual awareness (24-46). 2) VizAbility was designed by MetaDesign San Francisco, an information-graphics firm then headed by Erik Spiekermann. Computer communications took a major step forward with the development of the _______, a vast network of linked computers. 1) The Internet had its origins in the late 1960s, when scientists at the United States Department of Defense Advanced Research Projects Agency (DARPA) established the ARPAnet computer network so they could transfer data between sites working on similar research projects. 2) Supercomputer sites around the United States were connected by the National Science Foundation (NSF) into NSFNET in 1986; this totally replaced ARPANET within 2 years. 3) 1991, the United States Congress passed legislation widening access in public schools, 2-year colleges, and business organizations, generating a dramatic expansion of what was now called the Internet. 4) Yearly 1997, over thirty million users in more than one hundred countries were linked into an electronic global community. By 2010, there were close to 7 billion Internet users in the world, with more than 240 million in the United States alone.

Emigre, Rudy VanderLans, Zuzana Licko

Pioneers of digital graphic design By providing designers with new processes and capabilities, new technology often enabled them to create unprecedented images and forms. 1) many designers rejected digital technology during its infancy and derided those designers who chose to explore it 2) many others embraced it as an innovative tool capable of expanding the scope of the field of graphic design as well as the very nature of the design process. 3) Using A computer as a design tool enabled one to make and correct mistakes. Color, texture, images, and typography could be stretched, bent, made transparent, layered, and combined in unprecedented ways. 4) Early pioneers who embraced the new technology and explored its creative potential include Los Angeles designer April Greiman, _______ magazine designer/editor ________ __________, and typeface designer _______ ________. Greiman 1) explored visual properties of bitmapped fonts, the layering and overlapping of computer-screen information, the synthesis of video and print, and the tactile patterns and shapes made possible by the new technology. 2) her 1st graphic design using Macintosh output (24-3), bitmapped type and computer-generated textures were photostatted to a large size and pasted up through conventional typesetting. 3) design an issue of Design Quarterly magazine for the Walker Art Center in Minneapolis, she created a single-sheet magazine with a 61 by 183 cm digital collage executed entirely on the Macintosh computer (Fig. 24-4). 4) She explored capturing images from video and digitizing them, layering images in space, and integrating words and pictures into a single computer file. As computers and software became more powerful, a new spatial elasticity became possible in typography and imagery. 1) 1988, she expressed an obligation to "take on the challenge of continuing forward toward a new landscape of communications. 2) To use these tools to imitate what we already know and think is a pity." 3) In addition to using the new technology to make decisions about type and layout, she said, "I think there has to be another layer applied here. And That's about ideas."

Nadine Chahine

Erik Spiekermann 1) Lacking formal training in type design 2) studied English and history of art in Berlin. 3) His type designs include FF Meta, FF MetaSerif, ITC Officina, FF Govan, FF Info, FF Unit, LoType, Berliner Grotesk, and many corporate typefaces. 4) he established MetaDesign, the largest German Design firm. Corporate clients have included Audi, Skoda Volkswagen, Lexus, and Heidelberg Printing. In addition, there have been signage projects for the Berlin transit system and the Düsseldorf airport. 5) he founded FontShop, a firm specializing in creating and distributing electronic fonts. 6) he left MetaDesign in 2001 and is currently a partner in Edenspiekermann, which has Berlin, Amsterdam, London, and San Francisco offices. 7) His font family for Nokia Was released in 2002, and in the following year the Royal Academy of Fine Arts at The Hague presented him with the Gerrit Noordzij Award. 8) 2007 he was appointed to the board of directors at Microsoft, where he is currently director of fonts. Ralph Oliver du Carrois 1) graphic, product, and type designer, graduated from the Staatliche Hochschule für Gestaltung (State College of Design). 2) Beginning in 2000, he worked for different companies or agencies before founding the Berlin studio Seite4 in 2003, focusing mainly on corporate and type design. 3) 2008 he collaborated with Erik Spiekermann and Erik van Blokland on the design of the Axel type family for FontShop (24-38). Jonathan Hoefler 1) work includes original typeface designs for Rolling Stone, Harper's Bazaar, the New York Times Magazine, Sports Illustrated, and Esquire. 2) 1989 began Hoefler Type Foundry; when he became a partner of Tobias Frere-Jones in 1999, the Hoefler Type Foundry was transformed into Hoefler & Frere-Jones. Tobias Frere-Jones, 1) a graduate of the Rhode Island School of Design, worked for the Boston-based firm Font Bureau, Inc. for seven years. 2) 1996 he joined the faculty at Yale University graduate graphic design program, where he continues to teach typeface design today. 3) The designer of over 500 typefaces, Frere-Jones was the first American to be awarded the Gerrit Noordzij Prize by the Royal Academy of Fine Arts At The Hague for his role in type design and type education (24-39). The advances in digital type design have allowed for the mechanization, stylization, and standardization of traditionally handwritten letterforms and calligraphy. 1) there has been great interest in the design of font families that include the Roman alphabet, Cyrillic, Greek, and Arabic alphabets. _________ _____ 1) graduated from the American University of Beirut with a degree in graphic design, and during her studies there she became interested in Arabic Typography. 2) 2003 she received a master's degree in typeface design from the University of Reading, where she studied under Gerard Unger and Jean-François Porchez. i) While studying there, she concentrated on congruous relationships between Latin and Arabic scripts. 3) Today she works at Linotype GmbH in Germany, designing custom Arabic fonts for international clients. 4) Her typefaces include Koufiya (a dual-script font family, Latin and Arabic) (24-40), Arabic versions of Latin typefaces, such as Frutiger Arabic (24-41), Neue Helvetica Arabic (24-42), and Palatino Arabic, as well as new Arabic fonts, including Janna and Badiya.

McCoy, Edward Fella

In the late 20th and early 21st centuries, many art school and university design education programs became important centers for redefining graphic design through theoretical discourse and experimentation with computer technology. Michigan's Cranbrook Academy of Art, graphic designer Katherine _______ co-chaired the design department with her husband, product designer Michael McCoy, and it became a magnet for people interested in pushing the boundaries of design. 1) Cranbrook has since continued to emphasize experimentation while rejecting a uniform philosophy or methodology. 2) The faculty believes students should find their own directions while interacting with others engaged in similar searches. 3) McCoy likened Cranbrook To "a tribal community, intense and immersive," where she functioned as "a parade director and referee." During McCoy's years at Cranbrook, the program evolved from a rational, systematic approach to design problem solving influenced by the International Typographic Style, to an approach that questioned the expressive limits of this style, in which complexity and layering, vernacular and pre modern forms, and the validity of normative rules and conventions were explored. 1) 1989, McCoy designed poster (24-8) that challenged norms of college recruiting materials and demonstrated a complexity of form and meaning. 2) Breaking away from prevailing notions of simple, reductive communications, McCoy overlaid different levels of visual and verbal messages, requiring her audience to decipher them. _______ _____ 1) Detroit graphic designer with whom McCoy worked at the Designers & Partners studio before her appointment at Cranbrook, was a major force within the program. 2) served as frequent Cranbrook guest critic for many years, Fella attended the academy's graduate program 3) roots in American vernacular design and early modernist typography, his experimental work became a major influence on a generation of designers. 4) 1983-1991, contributed graphics to the Detroit Focus Gallery and produced flyers (24-9) whose typography and lettering challenged the reader in the same way advanced art in the gallery challenged the viewer. 5) explored entropy, the disintegration of form from repeated copying, and an unbounded range of techniques, from found typography, scribbles, and brush writing to typesetting, rubdown letters, public-domain clip art, and stencils. 6) Echoing futurism, he Investigated the aesthetic potential of invented letterforms, irregular spatial intervals, eccentric characters, personal glyphs, and vernacular imagery. A) combined these materials with great compositional skill and often attached asides, notes, and addenda to the primary message (24-10). B) Fella wryly observed, "Deconstruction is a way of exposing the glue that holds together Western culture." By mid-90s, the complexity of form, theoretical concerns, and computer manipulations found in the work of early pioneers made their way into the mainstream of graphic communications.

Edward Fella

Edward Fella (b. 1939), a Detroit graphic designer with whom McCoy worked at the Designers & Partners studio be- fore her appointment at Cranbrook, was a major force within the program. After serving as a frequent Cranbrook guest critic for many years, Fella attended the academy's graduate program from 1985 to 1987 and then accepted a California teaching position. With roots in American vernacular design and early modernist typography, Fella's experimental work became a major influence on a generation of designers. From 1983 until 1991, Fella contributed graphics to the Detroit Focus Gallery and produced flyers (Fig. 24-9) whose typography and lettering challenged the reader in the same way advanced art in the gallery challenged the viewer. He explored entropy, the disintegration of form from repeated copying, and an unbounded range of techniques, from found typography, scribbles, and brush writing to typesetting, rubdown letters, public-domain clip art, and stencils. Echoing futurism, Fella investigated the aesthetic potential of invented letterforms, irregular spatial intervals, eccentric characters, personal glyphs, and vernacular imagery.

Nadine Chahine

Nadine Chahine (b. 1978) graduated from the American University of Beirut with a degree in graphic design, and during her studies there she became interested in Arabic typography. In 2003 she received a master's degree in typeface design from the University of Reading, where she studied under Gerard Unger and the renowned French type designer Jean-François Porchez (b. 1964). While studying there, she concentrated on congruous relationships between Latin and Arabic scripts. Today she works at Linotype GmbH in Germany, designing custom Arabic fonts for international clients. Her typefaces include Koufiya (a dual-script font family, Latin and Arabic) (Fig. 24-40), Arabic versions of Latin typefaces, such as Frutiger Arabic (Fig. 24-41), Neue Helvetica Arabic (Fig. 24-42), and Palatino Arabic, as well as new Arabic fonts, including Janna and Badiya.

Sumner Stone

The digital type foundry Early digital type-design systems, such as the pre-PostScript Ikarus system used in 1980s by typesetting machinery manufacturers, were very expensive. 1) When font-design software for desktop computers-for example, Fontographer- became available, it enabled designers to design and market original typefaces as electronic files on computer disks, with significant reductions in the high cost of designing and distributing fonts. 2) A virtual explosion in the release of new typefaces occurred in 90s, as large type vendors were joined by independent type manufacturers. Adobe Systems became a prolific and influential digital type foundry. An early type family developed for its PostScript page- description language was Stone (24-24), designed by ________ _________. 1) Trained as calligrapher and a mathematician, Stone was type director of Adobe Systems Before opening his own type foundry in 1990. Stone Family has 3 versions-serif, sans-serif, and informal-that share basic letterform proportions and structure. 1) Each version has 3 roman and 3 italic fonts, for a total of 18 typefaces in the family. 2) At that time, reproduction quality of 300-dpi laser printers was a major factor for consideration the type family's character designs. 3) Since the release of Stone, advances in technology have made possible the design of "superfamilies" of type, such as Stone's Magma, which has 48 variants within the family.

World Wide Web, Hypertext

The now omnipresent ______ _____ ______ provides a means to easily organize and access the vast and ever increasing content on the Internet, including text, images, sound, animation, and video. 1) Web was 1st developed in 1990 by physicist Tim Berners-Lee at the European Organization for Nuclear Research in Geneva, Switzerland. Berners-Lee developed the three main building blocks of the Web: 1) the _______ Transfer Protocol (HTTP) 2) the Hypertext Markup Language (HTML) 3) a specification for the "address" of every file on the Web Called the Uniform Resource Locator (URL). At 1st limited to the scientific community, the Web started to take off in 1993, with the development of the graphical Mosaic browser at the National Center for Supercomputing Applications (NCSA) by a team including Marc Andreessen. Leaving NCSA, Andreessen cofounded Netscape Communications, which in late 1994 produced the 1st major commercial graphical browser, Netscape Navigator, causing the number of Web users to mushroom. Web use continues to grow at an incredible rate to this day, as the Web has become a ubiquitous tool of commerce, research, and expression for users and corporations around the world. In 1990s, the phrase information superhighway was used to express the global access to enormous amounts of information provided by the World Wide Web. 1) 1997, estimated 150 million Web sites were online, and by 2010 there were close to 12 billion Web sites. 2) Internet represents an unprecedented advance in human communications: Its Explosive growth through the late 1990s opened new horizons for graphic design by professionals and individuals using computers and Internet access to produce Web sites. A previously inconceivable decentralization of media communications has occurred. The early years of Web site design posed significant constraints for graphic designers. 1) computer's screen size and typographic defaults often reconfigured the intended page design until more sophisticated software-downloaded fonts were developed. 2) Early in the Internet revolution, many feared a collapse of design standards due to the limitations of the HTML programming language and the widespread access to Web site design by individuals without design training. Nevertheless, in the infancy of the medium, many designers, including Jessica Helfand, whose distinctive Web Projects include the initial design for the Discovery Channel's Site, demonstrated that graphic designers can create identity, aid navigation, and bring dynamic visual interest to Web sites. A) The Discovery Channel Web site became an early pioneer of Web design. The pages (24-47) used geometric zoning to create areas for titles, subtitles, and a sidebar of information. i) Images were used as signifiers to direct viewers as they navigated the site. ii) Opening screens for editorial features (24-48) used arresting images and understated typography, in contrast to the strident jumble of competing small elements on many Web sites.

Paula Scher

Typography and the built environment Lisa Strausfeld 1) studied art history and computer science at Brown University. Later she received master's degrees in architecture at Harvard University and in media arts and sciences at the Massachusetts Institute of Technology . 2) While at MIT she worked as a research assistant in the Visible Language Workshop of the Media Lab, where she explored and created new methods for presenting and interacting with complex data. 3) Together with 2 MIT classmates, she founded Perspecta in 1996. Eventually sold to Excite@Home, Perspectivas a software company that developed sophisticated search and visual user interface technology for systematizing large collections of information. 4) 2002, Lisa became a partner at Pentagram, where her work involves the interaction of actual and virtual space. i) Her group focuses on digital information design projects including software prototypes, Web sites, interpretive displays, and extensive media installations. ii) Retraining as an architect allows her to incorporate the presentation of information into physical surrounds, as in the large-scale dynamic media display in the corporate headquarters of Bloomberg LP (24-68). For over 40 years, ______ ______ has been at the vanguard of graphic design. 1) More recently, her typography has spilled into the streets and onto buildings; requests for her typographic treatments in the built environment are steadily increasing. 2) 2005 she paired with Lisa Strausfeld on the design of the Bloomberg LP headquarters, incorporating large-scale typographic treatments throughout the interior spaces (Fig. 24-69). i) For the New 42nd Street Studios building in New York, she unabashedly applied giant words to doors, floors, ceilings, and walls (Fig. 24-70). ii) In Newark, New Jersey, she painted the Lucent Technologies Center for Arts Education white and then placed words such as music, drama, and dance over the entire façade, communicating the energy and dynamism contained within (24-71)

VanderLans, Emigre, Liko

____________ 1) 1984 began to edit, design, and publish a magazine called _______. Joining him were 2 Dutch Friends (were living in San Francisco.) With creation and publication of Emigre, they originally intended to present their unpublished works alongside the creative works of others. 1) journal's name was selected because its founders believed that exposure to various cultures, as well as living in different cultural environments, has had a significant impact on creative work. 2) he used typewriter type and copier images in the first issue and low-resolution Macintosh type for subsequent issues. 3) A magazine with a printing run of 7,000 copies became a lightning rod for experimentation, outraging many design professionals while captivating those who embraced computer technology's sense of infinite possibility for reinvigorating and redefining graphic design. 4) Emigre's experimental approach helped define and demonstrate the capabilities of this new technology, both in its editorial design and by presenting work that was often too experimental for other design publications (Figs. 24-5 and 24-6). 1) 1987 left his newspaper design job and formed a partnership, Emigre Graphics, with designer Zuzana Licko, (educational background included computer-programming courses.) __________ 1) Dissatisfied with the limited fonts available for the early Macintosh, Licko used a public domain character-generation software called FontEditor to create digital typefaces. 2) Her 1st fonts were initially designed for low-resolution technology (24-7) and then later converted to companion high-resolution versions as font-design software and printer resolution improved. 3) she recalls the unpleasant experience of a college calligraphy class in which she was forced to write with her right hand despite being left-handed; she references this experience as a source of seminal inspiration for her original approaches to font design and complete departure from calligraphy, the traditional basis for conventional fonts.

Zines

During David Carson tenure as art director of Ray Gun magazine, he provided a rare open forum for major illustrators and photographers, introducing new artists and turning a half-dozen pages over to readers' illustrations for song lyrics. 1) This populist gesture recurred as ________: self-published personal magazines using desktop-publishing software and cheap printing or copier reproduction, began appearing in magazine racks.

Stefan Sagmeister

23.68 personal statment located in NYC, blurs line between fine art and graphic design _____________'s graphic design is consistently characterized by an uncompromising and harsh directness. On a poster for a Lou REED album, lyrics from one of REED's songs are handwritten across his face like graffiti. Born in Austria, he received his first diploma in graphic design from the University of Applied Arts in Vienna, and while on a Fulbright scholarship, he earned a master's from Pratt Institute in New York. After first working in New York and later as the creative director for the Hong Kong office of the Leo Burnett advertising agency, he returned to New York in 1993 to found his own studio. He has designed graphics and packaging for the ROLLING STONES, David BYRNE, Lou REED, AEROSMITH, and Pat METHENY, among other clients.

susan kare

Apple released software applications for word processing, drawing, and painting. 1) Early bitmapped fonts (Fig. 24-1) were designed by Susan Kare, then of the Apple Computer Design department. 2) Letterform design was controlled by the matrix of dots in these early fonts. design low-resolution dot pattern (bitmap) for Apple Macintosh This person worked in the Apple Computer design department and designed early bit-mapped fonts that were then released by Apple; associated with font, GENEVA This typographer designed numerous typefaces and icons for Apple, designed glyphs for paypal, and even created the "domo" cartoon seen on Facebook and elsewhere on the Internet. She continues to do user interface design for numerous digital companies. Clients: Apple, Next Computer (Steve jobs company after Apple,) Paypal, Facebook, Microsoft, and many more.

Hypertext

Berners-Lee developed the three main building blocks of the Web: 1) the _______ Transfer Protocol (HTTP) 2) the Hypertext Markup Language (HTML) 3) a specification for the "address" of every file on the Web Called the Uniform Resource Locator (URL). At 1st limited to the scientific community, the Web started to take off in 1993, with the development of the graphical Mosaic browser at the National Center for Supercomputing Applications (NCSA) by a team including Marc Andreessen. (Text that has been embedded with instructions to take a web page viewer to additional information.( a software system that links topics on the screen to related information and graphics, which are typically accessed by a point-and-click method.

April Greiman

Los Angeles-based designer April Greiman was commissioned to create issue 133 of the long-running journal Design Quarterly published by the Walker Art Center in Minneapolis. Greiman, already known for her experimental use of media such as photographic collage and still video imagery, had been early adopter of the Macintosh computer, first released in 1984. For this tour-de-force edition, the usual 32 pages of the magazine were treated as a two-foot-by-six-foot, double-sided poster. It was printed in color on a large format offset press and was folded down to the same trim size as the publication and housed in a paper slipcase. Using MacDraw software, Greiman was able to incorporate images captured from a video camera and generate typography, all composed within the same program. The software also allowed for tiling multiple pages to create large printouts, necessary to capture and print a pixelated, life-size, double self-portrait.

Émigré

Many cottage-industry type foundries vaulted into existence around the globe, owned and operated by independent designers and entrepreneurs who were empowered by the new technology to create and distribute their original typefaces. By 1990, Emigre Fonts began receiving many idiosyncratic and novel fonts from outside designers. Licko and VanderLans recognized the inherent formal inventiveness and originality of many of these submissions and began to license and distribute the designs. Often these fonts proved extremely controversial (Fig. 24-28), even as they were rapidly adopted and extensively used in major advertising campaigns and publication designs. Later in the decade Licko designed two significant revivals: Mrs Eaves, an exemplary interpretation of John Baskerville's eighteenth-century transitional fonts (see Figs. 8-14 through 8-17), and Filosofia, which captures the spirit of modern-style fonts (see Figs. 8-23 and 8-24) while actually resolving some of the legibility issues inherent in the eighteenth-century originals.

Interactive media

architect and designer Richard Saul Wurman 1) coined the term information architecture and predicted it would become a new profession of individuals who made complex information understandable. 2) 20 years later this term became widely used to denote a process of analyzing complex information and giving it structure and order, enabling audiences to glean its essence in an efficient and agreeable manner. Clement Mok 1) Apple Computer creative director who left to open Clement Mok Designs (renamed Studio Archetype), emerged as an early advocate of the graphic designer's role in the rapidly changing world of interactive media. 2) he realized that the digital revolution was merging commerce, technology, and design into a symbiotic entity (24-49). 3) believed design should be defined not as an isolated entity, like packaging or graphics added on to the product or service, but as an integral part of an organization's overall vision and strategy. _______ _______ permitted small firms and individuals to efficiently communicate with audiences and market products or services. 1) This was demonstrated by the first fontBoy interactive type catalogue (24-50), designed by Bob Aufuldish. A)On the main holding screen, letterforms floated randomly in space. i) When a viewer passed the cursor over a letterform, its movement stopped and the font name appeared (24-51); double-clicking on the letter opens another screen that showed the entire font. ii) Typefaces could be accessed from a menu page as well. Aufuldish also began a type foundry because he believed there was still room for experimentation and exploration in font design. 1) expressed interest in a new typography waiting to happen-what I call baroque modernism for the new millennium-and I want to make and release type to inspire that new typography."

Interactive media/hypermedia

are a combination of audio, visual, and cinematic communications, connected to form a coherent body of information. 1) Unlike books or films, which present information in linear sequences, interactive media have nonlinear structures, allowing each viewer to pursue information along a personally chosen path. 2) Interactive media are usually created by teams of professionals, including audiovisual specialists, writers, computer programmers, content specialists, directors, graphic designers, information architects, image-makers, and producers. (Integrates audio, graphics, and/or video through links embedded in the main program.)

a

Computer software allowed designers to control type interactively (24-16) by changing the scale, color, and overlapping of forms until a dynamic equilibrium was achieved. A) Software gave illustrators/photographers the latitude and openness to achieve their finest work. In mid-90s, as the U.S. economy recovered from a devastating recession, a new cultural paradigm was emerging: 1) personal computers and the Internet were launching the information age. 2) The magazine that would give voice to, and act as a virtual roadmap of, the new "digital generation" was Wired. WIRED magazine's design team, John Plunkett and Barbara Kuhr, principals of Plunkett + Kuhr envisioned a magazine that would do for the emerging information (like Rolling Stone done for rock and roll): define it, explain it, and make it indispensible to the magazine's readers. Plunkett and Kuhr came to Wired, a San Francisco publication, via Paris, France, where they had met the magazine's founding publisher, Louis Rossetto. 1) 1991, Kuhr Designed a color-xeroxed prototype for WIRED, and after much searching for funding by Rossetto and his partner Jane Metcalf, Wired was born in 1994 (24-17). 2) Plunkett Imagined the design problem as one of finding a way to use the convention of ink on paper "to report on this emerging, fluid, nonlinear, asynchronous, electronic world." The pulse of the information age was presented in a decidedly nonlinear fashion, with florescent and PMS inks used rarely in magazine publishing. 1) "Electronic Word," an eight-page front-of-book section of news and products (24-18) was often cited as difficult to read but was a layered design meant to emulate the emerging visual nervous system of the Internet, with its often overlapping and simultaneous information streams. 2) design was influenced by Quentin Fiori's 1967 design for Marshall McLuhan's The Medium Is the Massage. A) Feature article designs, clearly postmodern, used a wide range of edgy fonts in headlines (24-19). 3) Wired's designers soon ordered their own text font, Wiredbaum, designed by Matthew Carter, and based on the modern serif font Walbaum. 4) There was no other magazine that looked like Wired. The timing was perfect; following close on the heels of the widespread introduction of the Internet, Wired's machine-aesthetic design debut was an overnight success.

Internet

During last quarter of the 20th century and the 1st decade of the 21st century, electronic and computer technology advanced at an extraordinary pace, transforming many areas of human activity. 1) Graphic design was irrevocably changed by digital computer hardware and software and the explosive growth of the Internet. 2) The Industrial Revolution had begun fragmenting the process of creating and printing graphic communications into a series of specialized steps. 3) After phototype became prevalent during 60s, skilled specialists included A) graphic designers- created page layouts; B) typesetters- operated text and display typesetting equipment C) production artists- passed all of the elements into position on boards D) camera operators- made photographic negatives of the paste ups, art, and photographs E) strippers- assembled these negatives together F) platemakers- prepared the printing plates; G) press operators- ran the printing presses. By 1990s, digital technology enabled 1 person operating a desktop computer to control most-or even all-of these functions. 1) New photo-optical printing machines used computer-controlled lasers to photosensitize printing drums, making short-run and even individualized full-color press sheets possible. Computer users were empowered by greater control over the design and production process. 1) Digital technology and advanced software expanded the creative potential of graphic design by making possible unprecedented manipulation of color, form, space, and imagery. The growth of cable and satellite television in the last quarter of 20th century expanded the number of broadcast channels, inspired creative and technical advances in broadcast and motion graphics, and paved the way for consumers to embrace the power and flexibility of the Internet. 1) rapid development of the ________ and World Wide Web during 1990s transformed the way people communicate and access information, generating a revolution surpassing even Gutenberg's in its magnitude. By early 21st century, people had become dependent on the Internet for access to information and entertainment. 1) This technological development has continued to have widespread social, cultural, and economic implications. 2) Technology has transformed the era of corporate communications for mass audiences into a period of decentralized media offering near limitless options for individuals. 3) Computer graphics experimentation explored electronic techniques while churning through modern and postmodern design ideas, retro revivals, and eccentric work to create a period of pluralism and diversity in design.

Matthew Carter

From 1955 until 1957, London-born Matthew Carter (b. 1937) learned to cut punches for metal type by hand at the type foundry of the Enschedé printing house in the Netherlands. For well over forty years, Carter has continued to design scores of typefaces as typographic technology has evolved from metal type to phototype and digital type. Regarded by many to be the most important type designer of modern time, his work is used daily by millions of people. In 2004, Carter designed Yale, a signage typeface for Yale University, and refined the identity typeface for the Museum of Modern Art (MoMA) in New York. Yale was inspired by a Venetian typeface that first appeared in Pietro Bembo's De Aetna, published by Aldus Manutius in 1495-96. Although it was initially designed for signage, the new version now includes roman and bold italic fonts appropriate for print and the Web.

Zuzana Licko

In 1987, VanderLans left his newspaper design job and formed a partnership, Emigre Graphics , with designer Zuzana Licko , whose educational background included computer-programming courses. Dissatisfied with the limited fonts available for the early Macintosh, Licko used a public-domain character- generation software called FontEditor to create digital type-faces. Her first fonts were initially designed for low-resolution technology (Fig. 24-7) and then later converted to companion high-resolution versions as font-design software and printer resolution improved. Licko recalls the unpleasant experience of a college calligraphy class in which she was forced to write with her right hand despite being left-handed; she references this experience as a source of seminal inspiration for her original approaches to font design and complete departure from calligraphy, the traditional basis for conventional fonts. Many cottage-industry type foundries vaulted into existence around the globe, owned and operated by independent designers and entrepreneurs who were empowered by the new technology to create and distribute their original typefaces. By 1990, Emigre Fonts began receiving many idiosyncratic and novel fonts from outside designers. Licko and VanderLans recognized the inherent formal inventiveness and originality of many of these submissions and began to license and distribute the designs. Often these fonts proved extremely controversial (Fig. 24-28), even as they were rapidly adopted and extensively used in major advertising campaigns and publication designs. Later in the decade Licko designed two significant revivals: Mrs Eaves, an exemplary interpretation of John Baskerville's eighteenth-century transitional fonts (see Figs. 8-14 through 8-17), and Filosofia, which captures the spirit of modern-style fonts (see Figs. 8-23 and 8-24) while actually resolving some of the legibility issues inherent in the eighteenth-century originals. a type designer, cofounded Émigré magazine with her husband, Rudy VanderLans. used Macintosh to make types (bitmap) Émigré now offers 50 type families designed by about 20 designers 1988 emigre became full fledged graphic design journal issue 10 by Cranbook school Created *Mrs. Eaves font* (Inspired by Baskerville font / named after his wife). Adapted to be more versatile.

McCoy

In the late twentieth and early twenty-first centuries, many art school and university design education programs became important centers for redefining graphic design through theoretical discourse and experimentation with computer technology. At Michigan's Cranbrook Academy of Art , graphic designer Katherine McCoy (b. 1945) co-chaired the design department with her husband, product designer Michael McCoy (b. 1944), from 1971 until 1995, and it became a magnet for people interested in pushing the boundaries of design. Cranbrook has since continued to emphasize experimentation while rejecting a uniform philosophy or methodology. The faculty believes students should find their own directions while interacting with others engaged in similar searches. McCoy likened Cranbrook to "a tribal community, intense and immersive," where she functioned as "a parade director and referee." During McCoy's twenty-four years at Cranbrook, the program evolved from a rational, systematic approach to design problem solving influenced by the International Typographic Style, to an approach that questioned the expressive limits of this style, in which complexity and layering, vernacular and premodern forms, and the validity of normative rules and conventions were explored. In 1989, McCoy designed a poster (Fig. 24-8) that challenged norms of college recruiting materials and demonstrated a complexity of form and meaning. Breaking away from prevailing notions of simple, reductive communications, McCoy overlaid different levels of visual and verbal messages, requiring her audience to decipher them.

Paula Scher

Paula Scher draws upon historical models while transforming them into her own unique form of expression. Her posters for the Public Theater's productions of Bring in 'da Noise, Bring in 'da Funk; Hamlet and Hair; and Twelfth Night and The Bacchae, are refined and more expressive versions of nineteenth- century typographic posters combined with the playful spirit of Dada (Figs. 24-79 through 24-81). It is clear from the work of Michael Bierut (b. 1957) and Helmut Schmid (b. 1942) that the International Typographic Style is both alive and thriving. Before becoming a partner in Pentagram's New York office in 1990, Bierut worked for ten years at Vignelli Associates, eventually becoming vice president of graphic design (Fig. 24-89). Presently we see a resurgence of Letter press, which brings us back full circle to Gutenberg. Pentagram partner environmental design 24.69-70 supergraphics 24.79: reference vernacular of different eras -dada, constructivist, wood type theater poster 24.80, 81 dada, surrealism, etc

David Carson, zines

Revitalizing editorial design During early 1990s, accelerating progress in computers, software, and output devices enabled graphic designers to achieve results virtually identical to those of conventional working methods, for the promise of seamless on-screen color graphics had been fulfilled. 1) While designers explored the unprecedented possibilities of computers and graphics software, at the same time a renewed interest in handmade and expressionist lettering and images was growing. QuarkXPress, another page-design application, enables designers to place elements on a page in increments of 100/1000 of an inch and to kern type in intervals of 20/1000 of an em (a horizontal measurement equivalent to the width of the letter m). 1) Adobe Photoshop: application initially developed for electronic photographic retouching, enabled unprecedented image manipulation and creation. New developments migrated from individual exploration and design education to the mainstream as editorial designers for specialized magazines applied computer experimentation to their pages. ________ _________ 1) former professional surfer and schoolteacher, turned to editorial design in the 1980s. 2) eschewed grid formats, information hierarchy, and consistent layout or typographic patterns; he chose to explore the expressive possibilities of each subject (24-11) and each page or spread, rejecting conventional notions of typographic syntax and imagery. 3) art director and designer for Transworld Skateboarding, Musician, Beach Culture, Surfer, and Ray Gun, Carson flouted design conventions. 4) His revolutionary layouts included page numbers set in large display type, and normally diminutive picture captions enlarged into prominent design elements. A) often letterspaced his article titles erratically across images or arranged them in expressive rather than normative sequences. B) also required his reader to decipher his message by slicing away parts of letters. C) Carson's text type often challenged the fundamental criteria for legibility. D) explored reverse leading, extreme forced justification, text columns jammed together with no gutter, text columns the width of a page (and, on at least one occasion, a double-page spread), text with minimal value contrast between type and the image or color underneath, and text columns set in curved or irregular shapes (24-12). 5) White Display type placed over text covered some of the words, but the text could still be understood. A) Writing and subject matter receive his careful attention, for his designs emerge from the meaning of the words, or comment on the subject, as he seeks to bring the layout into harmony. Unconventional treatment of images included "unnatural" cropping to express content. 1) he was viewed as the epitome of the computer revolution, Ray Gun 14 (Fig. 24-13) was the first magazine Carson sent to the printer as electronic files. Before that he had generated elements by computer, then prepared camera-ready art on boards. Carson became quite controversial during the early 1990s. 1) he served as powerful inspiration for many young designers, he angered many others who believed he was crossing the line between order and chaos. 2) Carson's typography was decried and denounced, but as he and others pushed their work to the edge of illegibility, designers discovered that many readers are more resilient than they had previously assumed, noting that messages could often be read and understood under less than ideal circumstances. 3) Film and video techniques informed his magazine designs, for the hierarchical and regularized structure of page design in his work yielded to a shifting, kinetic spatial environment where type and image overlap, fade, and blur. A) Disparate visual and verbal elements jostle and collide in space the way sound and image bump and shove in film and video. B) he consciously made his pages cinematic by letting articles and headlines flow from spread to spread and by wrapping pictures around the edge of the page onto the other side. During his tenure as art director of Ray Gun magazine, he provided a rare open forum for major illustrators and photographers, introducing new artists and turning a half-dozen pages over to readers' illustrations for song lyrics. 1) This populist gesture recurred as ________: self-published personal magazines using desktop-publishing software and cheap printing or copier reproduction, began appearing in magazine racks. 2) He left Ray Gun in 1996 and applied his approach to print and other media communications for mass-media advertisers such as Coca-Cola and Nike. 3) He believes one should not mistake legibility for communication, because while many highly legible traditional printed messages offer little visual appeal to readers, more expressionist designs can attract and engage them.

World Wide Web

provides a means to easily organize and access the vast and ever increasing content on the Internet, including text, images, sound, animation, and video. 1) Web was 1st developed in 1990 by physicist Tim Berners-Lee at the European Organization for Nuclear Research in Geneva, Switzerland.

Desktop publishing

The Digital Revolution— and Beyond During the last quarter of the twentieth century and the first decade of the twenty-first century, electronic and computer technology advanced at an extraordinary pace, transforming many areas of human activity. Graphic design was irrevocably changed by digital computer hardware and software and the explosive growth of the Internet. Many years earlier, the Industrial Revolution had begun fragmenting the process of creating and printing graphic communications into a series of specialized steps. After phototype became prevalent during the 1960s, skilled specialists included graphic designers, who created page layouts; typesetters, who operated text and display typesetting equipment; production artists, who pasted all of the elements into position on boards; camera operators, who made photographic negatives of the pasteups, art, and photographs; strippers, who assembled these negatives together; platemakers, who prepared the printing plates; and press operators, who ran the printing presses. By the 1990s, digital technology enabled one person operating a desktop computer to control most—or even all—of these functions. New photo-optical printing machines used computer-controlled lasers to photosensitize printing drums, making short-run and even individualized full-color press sheets possible. Computer users were empowered by greater control over the design and production process. Digital technology and advanced software also expanded the creative potential of graphic design by making possible unprecedented manipulation of color, form, space, and imagery. The growth of cable and satellite television in the last quarter of the twentieth century expanded the number of broadcast channels, inspired creative and technical advances in broadcast and motion graphics, and paved the way for consumers to embrace the power and flexibility of the Internet. The rapid development of the Internet and the World Wide Web during the 1990s transformed the way people communicate and access information, generating a revolution surpassing even Gutenberg's in its magnitude. By the early twenty-first century, many people had become dependent on the Internet for access to information and entertainment. This technological development has continued to have widespread social, cultural, and economic implications. Computer graphics experimentation explored electronic techniques while churning through modern and postmodern design ideas, retro revivals, and eccentric work to create a period of pluralism and diversity in design. The digital revolution came to the desktop of individual graphic designers as a result of affordable yet powerful hardware and software created primarily by three companies during the 1980s: Apple Computer developed the Macintosh computer; Adobe Systems invented the PostScript programming language underlying page-layout software and electronically generated typography; and Aldus created PageMaker, an early software application using PostScript to design pages on the computer screen. Apple Computer's 1984 introduction of the first-generation Macintosh computer, based on technology pioneered in its Lisa computer, foretold a graphic revolution. The Macintosh displayed bitmapped graphics; that is, its screen presented information as dots called pixels, with 72 dots per inch (dpi) on a black-and-white screen. Its interface with the user was achieved via a desktop device, called a mouse, whose movement controlled a pointer on the screen. By placing the pointer on an on-screen icon and clicking a button on the mouse, the user was able to control the computer intuitively and focus on creative work rather than machine operation or computer programming. Apple released software applications for word processing, drawing, and painting. Early bitmapped fonts (Fig. 24-1) were designed by Susan Kare (b. 1954), then of the Apple Computer design department. Letterform design was controlled by the matrix of dots in these early fonts. Dot matrix printer: -were 1st introduced by Centronics in 1950. The term dot matrix refers to process of placing dots to form an images. -unlike typewriter or daisy wheel printers, letters are drawn out of dot matrix and thus varied fonts and arbitrary graphics can be produced. -its speed is ussually 30 to 1000 characters per seconds (cps). This is the cheapest and most noisy printer and has low printer quality through the use of a personal computer, combining text and graphics to produce a high-quality documents, such as newsletters, flyers, brochures, etc.

Rudy Vanderlans

Rudi VanderLans began to edit, design, and publish a magazine called Emigre . VanderLans used typewriter type and copier images in the first issue and low-resolution Macintosh type for subsequent issues. A magazine with a printing run of seven thousand copies became a lightning rod for experimentation, outraging many design professionals while captivating those who embraced computer technology's sense of infinite possibility for reinvigorating and redefining graphic design. Emigre's experimental approach helped define and demonstrate the capabilities of this new technology, both in its editorial design and by presenting work that was often too experimental for other design publications In 1987, VanderLans left his newspaper design job and formed a partnership, Emigre Graphics , with designer Zuzana Licko , whose educational background included computer-programming courses. Dissatisfied with the limited fonts available for the early Macintosh, Licko used a public-domain character- generation software called FontEditor to create digital type-faces. Her first fonts were initially designed for low-resolution technology (Fig. 24-7) and then later converted to companion high-resolution versions as font-design software and printer resolution improved. Licko recalls the unpleasant experience of a college calligraphy class in which she was forced to write with her right hand despite being left-handed; she references this experience as a source of seminal inspiration for her original approaches to font design and complete departure from calligraphy, the traditional basis for conventional fonts. Many cottage-industry type foundries vaulted into existence around the globe, owned and operated by independent designers and entrepreneurs who were empowered by the new technology to create and distribute their original typefaces. By 1990, Emigre Fonts began receiving many idiosyncratic and novel fonts from outside designers. Licko and VanderLans recognized the inherent formal inventiveness and originality of many of these submissions and began to license and distribute the designs. Often these fonts proved extremely controversial (Fig. 24-28), even as they were rapidly adopted and extensively used in major advertising campaigns and publication designs. Later in the decade Licko designed two significant revivals: Mrs Eaves, an exemplary interpretation of John Baskerville's eighteenth-century transitional fonts (see Figs. 8-14 through 8-17), and Filosofia, which captures the spirit of modern-style fonts (see Figs. 8-23 and 8-24) while actually resolving some of the legibility issues inherent in the eighteenth-century originals. Dutch created Emigre: magazine -originally cultural -first issue: typewriter type resized on a photocoper

Internet

a computer network consisting of a worldwide network of computer networks that use the TCP/IP network protocols to facilitate data transmission and exchange (Computer communications took a major step forward with the development of the _______, a vast network of linked computers. 1) The Internet had its origins in the late 1960s, when scientists at the United States Department of Defense Advanced Research Projects Agency (DARPA) established the ARPAnet computer network so they could transfer data between sites working on similar research projects. )

Carol Twombly

In the past, when designers developed a typeface for a proprietary system such as Linotype or Monotype, they took the specific nature of the typesetting equipment into account. 1) Contemporary typeface designers create fonts adaptable for use on many output devices, including low and high-resolution display screens, inkjet and high-resolution printers, as well as output systems that do not yet exist. 2) the environment in which type is used has expanded dramatically, as individuals in many fields, not just designers and typesetters, make typographic decisions and create typeset documents. _______ ________ and Robert Slimbach emerged as staff typeface designers at Adobe, creating original designs and respected digital adaptations of classic typefaces. Twombly's typefaces include 3 masterful families (Fig. 24-25) inspired by historical lettering. These Were the 1st 3 display fonts in the Adobe Originals type program, a series of new designs created for digital technology. 1) Charlemagne: freely based on the decorative capitals used as versals and titling in Carolingian-era illuminated manuscripts. 2) Lithos: inspired by monoline simplicity and even-textured economy of Greek stone inscriptions, but Twombly transformed these carved letters into a highly original family of 5 weights, each with inventive character and a distinctive appearance. A) After Lithos release, it was adopted for on-screen graphics by MTV cable-television channel and became wildly popular. 3) The inscription on Trajan's Column (2-17) has inspired numerous fonts, including Twombly's version. A) Her font closely paraphrases the source, but the conversion from stone to a typeface required a less heavy N, a bolder S, and more prominent serifs.

Myriad

Slimbach 1) master calligrapher who seeks inspiration from classical typefaces as he designs text faces for digital technology. 2) creates vibrant fonts based on calligraphy and hand-lettering (24-26). 3) research and documentation combined with meticulous craft have resulted in typefaces fully faithful to the originals. 4) his fonts are hailed for maintaining the spirit of the original while making adjustments and refinements appropriate to digital technology. 1992, Adobe released its 1st multiple-master typefaces. 1) 2 or more master designs combined to generate an extensive sequence of fonts. A) master designs determined the range of fonts that could be generated through changes in a design axis. 2) The design axis controlled weight, determined by stroke thick-ness and the resulting ratio of black form to white background; width, determined by making the letters wider (expanded) or narrower (condensed); style, in which visual attributes, ranging from no serifs to large serifs or wedge-shaped serifs to slab serifs, were altered; and optical size, involving subtle adjustments in proportion, weight, spacing, and contrast between thick and thin elements, optimizing legibility and design. 3) The optical size axis was an important consideration- During the phototype era, one set of master characters was drawn for use in all sizes, even though small text characters needed sturdier serifs and heavier than strokes than large display type sizes. 4) _______, a two-axis sans serif (Fig. 24-27), was one of the first multiple master fonts. Twombly and Slimbach executed the actual drawing and digitization over a two-year period. Many cottage-industry type foundries vaulted into existence around the globe, owned and operated by independent designers and entrepreneurs who were empowered by the new technology to create and distribute their original typefaces. 1) A rift arose between designers who believed the traditional values should be maintained and designers who advocated experimentation and even eccentricity. 2) often, this split formed along generational lines. Young designers were not trying to expand the range within existing categories of typefaces (for example, the way Univers extended the range of sans-serif types) (see Fig. 18-14) or create new decorative and novelty types; rather, they sought to invent totally new kinds of typefaces. 3) These fonts could not be evaluated against proven typographic traditions.

susan kare

The origins of computer-aided graphic design The digital revolution came to the desktop of individual graphic designers as a result of affordable yet powerful hardware and software created primarily by 3 companies during the 1980s: 1) Apple Computer developed the Macintosh Computer 2) Adobe Systems invented the PostScript programming language underlying page-layout software and electronically generated typography; 3) Aldus created PageMaker, an early software application using PostScript to design pages on the computer screen. Apple Computer's 1984 introduction 1st-generation Macintosh computer, based on technology pioneered in its Lisa computer, foretold a graphic revolution. 1) Macintosh Displayed bitmapped graphics: its screen presented information as dots called pixels, with 72 dots per inch (dpi) on a black-and-white screen. 2) Its interface with the user was achieved via a desktop device, called a mouse, whose movement controlled a pointer on the screen. By placing the pointer on an on-screen icon and clicking a button on the mouse, the user was able to control the computer intuitively and focus on creative work rather than machine operation or computer programming. 1st mouse: a small wooden box on steel wheels, was invented by scientist Douglas C. Engelbart in the 60s at the federal government's Augmentation Research Center. 1) was called an "x-y position indicator for a display system" in the patent. 2) A colleague dubbed the device "the mouse." 3) The mouse made computers accessible through intuitive processes rather than tedious mathematical coding and empowered people, from accountants and writers to artists and designers, to use computers. Engelbart has been lauded as a visionary whose early innovations humanized computers by making their technology more accessible. 1) his research foreshadowed electronic mail systems, icon and window-based computer operating systems, the Internet, networking software allowing several users to work on a document at the same time, and videoconferencing. Apple released software applications for word processing, drawing, and painting. 1) Early bitmapped fonts (Fig. 24-1) were designed by _____ _____, then of the Apple Computer Design department. 2) Letterform design was controlled by the matrix of dots in these early fonts.