Typographersand

Designers

CHAPTER ONE

Typographersand

Designers

CHAPTER ONE

House Industries is an internationally known prolific type foundry and design studio based in Yorklyn, Delaware.

The company was created on March 1st, 1993 when Andy Cruz and Rich Boat quit their jobs and set up Brand De-

sign Co., Inc. in the space rom of Rich’s apartment in Wilmington, Delaware. Despite its garage startup, the company

has manifested into making a considerable impact on the world of design as its fonts are widely spread throughout

billboards, greeting cards, consumer product logos, and mainstream media—a few which include VH1’s Best Week

Ever, Mission Impossible, Nickelodeon’s TV Land, Anne Taylor garment bags, Lucky Charms, and etc.

Behind the apparent success of House Industries is a team of impassioned House artists who have mastered a large

cross-section of design disciplines that acts as an infrastructure for the mesh of cultural, musical and graphic ele-

ments within in the mastered typography. From early forays into distressed digital alphabets to sophisticated type

and lettering systems, House Industries’ work transcends graphic conventions and reaches out to a broad audience.

Within the realm of House Industries’ broad clientele is a wide variety of an unconscious House aesthetic of the

studio’s ‘blue-collared’ designers. As House designers draw from an exposure of areas in the American sub-cultural

phenomena of unsophisticated yet incredibly formative graphic design, despite the big names of their clients, House

designers ultimately create their own projects of design and illustration. Each House Industries project attempts to

administer a component of an art history lesson of sorts by using their font collections to provide an opportunity to

draw attention to the impactful and under-appreciated art genres that were a huge influence to the designer’s during

their impressionable years. The consistent element of art history embedded into the House aesthetics has inevitably

created a style that audiences identify House Industries with.

In accordance, because of the twentieth century metal type inspiration and the diverse references to popular cul-

tural imagery, invariably, “retro” is always brought up when discussing House’s work. Regardless of the indifferent

categorization of House aesthetics being “retro,” as the term is thoughtlessly used to describe anything that from

the past few decades, House designers focus solely in the craft of everything they do. House Industries finds creat-

ing artwork by traditional means to be more direct and efficient so ultimately, the hands-on approach preserves the

characteristic production techniques while drawing from personal interests, which gives a unique flavor of making

the House Aesthetic one of a kind.

WRITTEN BY HANNA CHI

House Industries

Jessica Hische is a Pennsylvania-born, award-winning letterer, illustrator, and graphic designer. Known for her ‘Dai-

ly Drop Cap’ project, ‘Should I Work for Free’ flowchart, and beautiful type design and lettering skills, Hische is

currently based in San Francisco and works alongside friend and designer Erik Marinovich. While she’s not in her

studio space creating and working on designs, she can be found traveling the world attending and speaking at confer-

ences, finding ways to help others do what they love.

Having worked for wonderful clients such as Wes Anderson, American Express, and Penguin Books, Hische contin-

ues to work independently from her studio, designing for advertising, books, weddings, branding, and companies,

while still finding time to work on fun side projects for herself. One of her biggest projects included designing book

covers for a 26-book classics series with Penguin Books; each with an elegantly-designed letter that pertained to a

classic author, and another working with Wes Anderson to create film titles for Moonrise Kingdom. Hische is also

greatly acclaimed, having been listed in Forbes’ Top 30 Under 30 in art and design twice, nominated as GDUSA’s

person to watch in 2011, and featured in many major design and illustration publications. She is greatly admired and

respected by those in her industry and lettering-aficionados.

Her hand-lettering skills have been carefully practiced and refined for years, mainly using the pen tool in Adobe Il-

lustrator to develop a general skeleton and adding decorations and ornamentations later on. While Hische’s work for

her clients is incredibly expansive and ample, her style is a common element in all of her lettering and illustrations;

her work can be described as both whimsical and sophisticated, as she finds inspiration everywhere she goes and

through all the wonderful people she meets around the world. “Just when you think you figured it out, you find some

better way of doing things. The key is to always keep trying to be better.”

JESSICA HISCHEWRITTEN BY WINNIE QUAN WRITTEN BY JOHN LUNA

The Ohio-born Michael Bierut is a highly awarded and famous graphic designer that is attributed with the creation

of designs ranging from the environmental graphics for the New York Times building to the development of a new

brand strategy for the packaging of Saks Fifth Avenue. However, his work does not only result from his ability to

design but also his identity as a designer. He describes the difference between those who design and those who are

designers. The designer is also a participant in the design conversation and, as a designer; Bierut is a leader in creat-

ing a design community. He has served as the national president of the American Institute of Graphic Arts, acted as

a senior critic at Yale School of Art, and is a founding contributor for the Design Observer. His works and didactic

contributions have affected the language of typography and the field of design overall. With his book, Seventy-Nine

Short Essays on Design, Bierut hopes to create a community for design conversation, which, he comments, was fairly

unavailable to a majority of designs despite the universality of design in the world. He complains that, in the 1970s,

there was only really one, inaccessible, conference for designers to attend and that paid subscriptions to publications

tended to be costly – creating a very isolated world of design. He grants insight to the importance, especially due to

the ubiquitous nature of design, of the graphic and of the associated text. Mentions of his mistakes and experiences

during his design career inform him and allow him to offer readers advice on spurring conversations about design and

challenging the established design normative. In Bierut’s essay published in the Design Observer, he mentions that

design is about making connections between objects. Despite appearing to be an aggregation for essays on design,

he also comments on other topics such as politics or business. He mentions, “Design is not everything. But design is

about everything.” Bierut praises design for always being about “something else.” These connections allow designs

to become a universal entity that has driven Bierut’s inspirations. As a result of his contemporary advice on breaking

the design standard, Bierut has become a major, and powerful, contributor to the entire design community.

MICHAEL BIERUT

Herman Zapf is a German type designer who was born in 1918 in Nuremberg during the German revolution and is

still alive today at age 96! He is married to a fellow typeface designer, Gudrun Zapf von Hesse. Zapf grew up with

an interest in technical subjects; as a kid he experimented with electricity and even built an alarm set for his house.

At a young age, Zapf was already getting involved with type, inventing cipher-text alphabets to exchange secret

messages with his brother.

He left school in 1933 with the ambition to pursue a career in electrical engineering. However, Zapf was not able

to attend the Ohm Technical Institute in Nuremberg due to the new political regime in Germany at the time, so he

took up an apprenticeship position in lithography where he worked for four years. During this time, Zapf attended

an exhibition in Nuremberg in honor of the late typographer Rudolf Koch. This exhibition gave him his first interest

in lettering and he began to teach himself calligraphy. In 1938, he designed his first printed typeface, a fraktur type

called Gilgengart.

One year later, Zapf was conscripted into World War II and sent to help reinforce the defensive line against France.

Not used to the hard labor, he developed heart trouble in a few weeks and was given a desk job, writing camp records

and sports certificates. Due to his heart trouble, Zapf was dismissed early from his unit and shortly thereafter began

training as a cartographer. After his training, he traveled to Bordeaux and became a staff member in the cartography

unit where he drew maps of Spain. Zapf enjoyed working in the cartography unit. His eyesight was so excellent that

he could write letters 1 millimeter in size without using a magnifying glass – this skill probably prevented him from

being commissioned back into the army.

After the war had ended, Zapf was held by the French as a prisoner of war. He was treated with respect because of

his artwork and, due to his poor health, was sent home only four weeks after the end of the war. Post-war, Zapf taught

calligraphy in Nuremberg before taking up a position as artistic head of a print shop.

Later in his career, he spent time developing two famous typefaces, Palatino and Optima. He then worked for a while

in developing computer typography programs before taking up professorship at the Rochester Institute of Technol-

ogy from 1977 to 1987. Today he is known as the artist of several famous typefaces such as Palatino, Optima, Aldus,

Venture, and of course, Zapfino – his most recent typeface which was released in 1998.

WRITTEN BY KEELY VEDANAYAGAM

HERMAN ZAPF

CHAPTER TWO

HISTORICAL LETTERS

Bruce Rogers was an American typographer and type designer that primarily focused on book designers. Some claim

that he was among the greatest book designers of the twentieth century. He started his career as a political cartoon-

ist after graduating from Purdue in 1890. Later on, he worked as an artist for the Indianapolis news which sparked

his passion for book design. After falling in love with Kelmscott Press edition books, Rogers moved to Boston, the

center of publishing at the time, and began his passion by producing fine books.

Rogers created his first typeface in 1901 when he worked for the Riverside Press in Cambridge, Massachusetts. He

started designing advertisements, and created ornate designs, printed on handmade damped paper. He created the

font “Montaigne” which was a Venetian style type face, which was used in the book The Essays of Montaigne. Rog-

ers had a very clear style, and when the moderdism trend began to spread across the art world, he continued to focus

on his “classical” designs and avoided modern or sans serif fonts.

In 1912, Rogers then moved to New York City where he began his career as an independent designer and house

designer for the Metorpolitan Museum of Art. Rogers was asked to design a limited edition of Mauric de Geurin’s

The Centaur, and he created his most popular font “Centaur” at this time. His new typeface was recognized among

the community and admired for its maturity and classic design. From that point forward, Rogers specifically used

Centaur for the rest of his career.

Rogers became infatuated with book design. Whether he was overseeing other designs or taking on his own special

projects, he was always influencing the publishing world with his designs. One of his passion projects included a

renovation of the Odyssey. Rogers reprinted the book in Centaur type on gray handmade paper and bound it with

black Niger leather. He became obsessed with turning iconic books into not only literary works of art, but design

works of art as well. Soon after, he spend six years producing the Oxford Lectern Bible. However, this led to Rogers

pairing up with Frederic Warde to develop an italic form of his Centaur font.

Along with his typography and type design, Rogers spent a focus on his career designing bookplate designs that

showcased his type designs. His designs usually included small images with ornate borders and his own types. To-

day, his bookplates and books designed throughout his career auction at a very high value. Overall, Roger’s impacted

the book design world while finding a current way to integrate serif and classic designs into the everyday world.

WRITTEN BY RALEIGH WILSON

Bruce Rogers

In the discussion of most influential people in history, we throw out names like Aristotle, Jesus, Louis Pasteur, Leon-

ardo di Vinci, Alexander the Great, and Walt Disney, but there is one man oft forgotten: Max Miedinger. Yes, I just

compared a typographer to Jesus, and I’m not ashamed.

Max Miedinger was born in the most neutral place on Earth, Zurich, Switzerland, but he was far from anything

neutral. In fact, Max was a go-getter from the beginning. It was widely rumored that when he was born from his

mother’s womb, he was already rearranging his umbilical cord into various shapes and letters. Having discovered

his precociousness at the moment of birth, Max’s parents decided to allow him freedom to become his own man,

and become his own man he did. At the age of 16, when plebeians like you and I were still sucking our thumbs and

just barely getting by basic calculus, Max was already beginning his apprenticeship as a typesetter. For the next four

years, Max worked by day at the worth of an unpaid intern and attended class by night at Kunstgewerbeschule in

Zurich. This man had both genius and hard work, it’s no wonder he had to fend of girls left and right, day and night.

By age 26, Max evolved into a full-fledged typographer for Globus department store’s advertising studio. For the

next 10 years, he perfected his art. During this rather uneventful period the Swiss typically call “the grind” or in Ger-

man, zerkleinern, Max was only able to travel the globe once, spreading the good word of typographism throughout

the four corners of the world. It should be noted that he did successfully perform a cardiac bypass surgery in the

jungles of Africa and recreate the most famous stolen Rembrandt painting, Jacob de Gheyn III in France. It should

also be noted that those latter accomplishments are based purely on rumor.

In 1956-57, he became a freelance graphic artist, and with Eduard Hoffmann, they gifted the world the most impor-

tant creation of the 20th century in the form of the Haas-Grotesk typeface. Over the next two years, roman and bold

version were created, and in 1960, the typeface was renamed from Neue Haas Grotesk to HelveticaTM. If you don’t

know what Helvetica is or looks like, finish this sentence and then maybe consider exploring that place the rest of

us call “outside”. Read some signs, look at some advertisements, glance over a book cover and you’ll have probably

already experienced HelveticaTM. It is only the most widely used typeface of the 20th century, and many sans-serifs

that came after can thank HelveticaTM for laying the way. Helvetica is the Jesus Christ, the Neo, the Dark Knight of

typography, it wasn’t the typeface we deserved, but the typeface we needed. It came down from the snowy mountains

WRITTEN BY JOSHUA KIM

Max Miedinger

Paul Renner was a world famous German type designer. Renner can be seen as a bridge between the traditional 19th

century and the modern 20th century design. He attempted to fuse the gothic and the roman typefaces. While he was

never directly affiliated with the Bauhaus movement, he became an advocate of its aims and principles and became a

leading proponent of the “New Typography”. Renner sought to influence culture by designing, writing and teaching

and he spent most of his life in applied art, trying to bring high cultural standards to material objects for use – type-

faces and books. 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. Renner’s design

rejected the approach of previous sans-serif designs, which were based on the model of traditional serif typefaces

and condensed lettering, in favor of simple geometric forms: near-perfect circles, triangles and squares. It is based

on strokes of near-even weight, which are low in contrast. In relation to typography, many people know Renner as

the creator of Futura, one of the most successful and most-used typefaces of the 20th century. In some respects,

Futura can be seen to reflect his views on the appropriate style for letterforms designed in Germany – an alternative

solution to the choice of gothic or roman. When created in 1927, Futura was based on geometric shapes that became

representative of visual elements of the Bauhaus design style of 1919–33. In designing Futura, Renner avoided the

decorative, eliminating nonessential elements, but used his knowledge of how people perceive lines and shapes to

make subtle departures from pure geometric designs that allow the letterforms to seem balanced. His creation of the

sans serif typeface Futura marked a revolutionary change in typography. Futura is still used today because it is so

bold and distinctive to typographers and graphic designers. Paul Renner’s work is a good example of how form fol-

lows function. Every mark Renner made, he had a reason for making it, not making any arbitrary marks or decisions

just because of the style during the 19th and 20th century. Renner, as one of the most influential type designers of the

20th century has successfully created a bridge from traditional typography to modern.

WRITTEN BY RAJIV RAMAKABIR

Paul Renner

“Design is thinking made visual.”

Saul Bass was an incredibly versatile American designer who forged a career in designing everything from corporate

identity logos to movie title treatments and filmmaking. Throughout his 40+ years in the industry Bass worked with

leading corporations such as, United Way, Continental Airlines, AT&T, Warner Brothers, and the Girl Scout Organi-

zation. Bass’ logos are dynamic yet streamlined, and creative yet informative. Bass was one of the most prominent

designers of the 60’s and 70’s. The logos and brand identity guidelines of which most of these major corporations still

use today, decades after their creation. Additionally, a study in 2011 proved that the average lifespan of a Saul Bass

corporate logo was 34 years, an unusual longevity. Additionally, this analysis cited the most common end to a logo

was the merge or demise of the company, not a corporate re-branding. Discussing his logo designs, Saul Bass once

stated, “If I do my job well, the identity program will also clean up the image of the company, position it as being

contemporary and keep it from ever looking dated.”

Although Bass’ work in logo design is impressive, his innovations in title credits for movies left an impression on

the film industry forever. Prior to Bass’ title treatments movie titles were used solely to display information. The

revolutionary idea to use title credit sequences in movies as an opportunity to introduce viewers to a films’ deeper

themes was, in fact, Saul Bass’. Creating a compelling title sequence can make a first impression on an audience by

providing a short visual metaphor to viewers and overall they can contribute to the effectiveness of a film. Bass de-

signed for Hollywood’s most established filmmakers, such as: Alfred Hitchcock, Stanley Kubrick, and Billy Wilder.

Bass’ last title sequence was for modern director Martin Scorsese, in his film Casino. Regarding his sequence for

Casino, Bass stated, “The intent of this opening was to create a mood spare, gaunt, with a driving intensity… [that

conveyed] the distortion and jaggedness, the disconnectedness and disjointedness of the addict’s life the subject of

the film.” Bass designed titles for over 30 films.

WRITTEN BY ERIN NOGLE

Saul Bass

If asked about the functional purpose of this soft covered book you are currently reading, what would you say is its

main advantage compared to a hardcover? Similarly, reflecting on a time you bought a paperback, what was it that

drove you towards this purchase? If the affordability and portability attracted you, then you have Aldus Manutius to

thank. What he called libelli portatiles, or portable little books, had soft covers, were small in size and of great use to

travelling scholars at the time, and for the masses today.

Aldus Manutius was born 1449 in Bassiano, Papal States (Italy), and passed away in Venice, 1515. During this time,

typographical art was in its very early stages of development. Designs and text were crudely etched into wood.

Growing up, literary texts were scarce, and many elementary books were painfully dry and unintelligible. “Doctri-

nale Alexadri de Villa-Dei,” was a grammar study that Manutius was said to have despised reading. His future works

may have been influenced by just this.

Manutius became a printer and publisher, whose printing press changed the direction of book formatting and typog-

raphy at the time. His focused was on printing inexpensive editions of classic texts, Aristotle, Dante, and Homer to

name a few, with the hopes that all may have access to literary works.

The italic type was first used by Manutius to print an edition of Virgil in 1501. This slanted design was critical for the

production of his pocket sized books; the format allowed letterforms to fit in narrow and compact spaces. Whereas

italics are more contemporarily used to emphasize and/or bring attention to a certain word and/or phrase, Manuthius

had a much more economic intention. By using italics, smaller pages could hold more words, meaning fewer pages

and decreased production costs.

This smaller format in book production revolutionized the availability of knowledge, similar to how laptops and smart-

phones have influenced lives in the twentieth-twenty first century. Aldus Manutius helped mobilize information.

WRITTEN BY SHIRLEY SUN

Aldus Manutius

CHAPTER THREE

The Contemporary

Wordsmith

Often when we think if new technology, we automatically think that it will make our lives better. Sometimes this is

true, but in the world of typography new technologies actually made print quality worse. Typesetting was traditionally

performed on printing presses where metal stamps were meticulously and painstakingly arranged to achieve the best

product. Because the printing press was labor intensive and required extensive training, publishers were excited about a

new technology, phototypesetting, which drastically reduced the time and skill required to typeset books.

While the technology was initially limited to low quality publications like newspapers and magazines, the price eventu-

ally forced the new technology into more premium products like text books. Donald Knuth, a professor of computer

science at Stanford University, in 1978 received a gallery print of his second edition textbook. Compared to the original

version, he lamented, “The quality of typesetting was abominable. It was a pain to read. You couldn’t look at this be-

cause they had changed printing technology.” In retaliation, Mr. Knuth decided to create a computer program to typeset

his new book instead of using the phototypesetting method he loathed.

Just like any self-respecting typography student would, Mr. Knuth began his research by tracing out the letters from

existing typefaces onto paper. After many hours of studying the shapes he came to the conclusion that the phototype-

setting system failed because, whereas letters were designed by human beings which something in mind for them, the

typesetting process had no way to capture the intelligence or intentions of the type designer. Mr. Knuth decided that in

order for a computerized system to produce beautiful text, it must preserve the past traditions of typesetters instead of

throwing them out like current technology had.

The systems Mr. Knuth developed changed typesetting from a problem with metallurgy to a problem of mathematics.

In contrast to previous methods, his system does not rely on static characters but instead digitally creates each character

based on the parameters given such as point size and weight. The advantage of using digitally created characters is that

each character is a perfect reproduction of the designer’s intentions whether printed on paper or displayed on a computer

screen. Additionally, because text was represented in an abstract way inside a computer, Mr. Knuth applied complex

algorithms, such as automatic river reduction, that where time and labor prohibitive on traditional presses.

The typesetting systems that Mr. Knuth developed made great progress towards digital publishing but the systems were

not perfect. Specifically, the system required many different commands to achieve the desired results. While many aca-

demics were able to effectively use the system, graphic artist publishers found the system difficult because they had little

computer experience. In the end, Mr. Knuth’s digital publish system never gained much acceptance outside universities.

All of his work in not in vein, however, because many of the algorithms and principals he pioneered are now integral

parts of the most widely used software packages.

WRITTEN BY JACOB ROTH

Donald Knuth

Emigre was a magazine about “the global artist who juggles cultures, travels between them, and who is fluent in the

cultural symbols of the world.” It was founded in 1984 in Berkeley, CA by wife and husband Zuzanna Licko and Rudy

VanderLans, who created the type foundry. The word émigré, which often refers to a person who has “migrated out”

of of something, perfectly defines the foundry’s take on art and design. Emigre resisted typical design rules that had

existed during its beginning and used its wild creations to offset long-accepted imbalances between form and content.

The foundry was the first of its kind to create and distribute fonts made for and by a computer, and their work was

made possible the advent of the Macintosh computer. Licko and VanderLans used the magazine to explore and ex-

periment with new and radical pieces that were created by computers using bitmap design, dot matrix printing and

vector-based design, rather than by hand and letterpress. This was a surprise to the design community whose conven-

tion at the time placed a high value on calligraphy; the norm was to create typestyles by hand before manipulating

them on the computer. However, for Zuzanna Licko, the computer’s tools opened a variety of opportunities because

she was left-handed and thus had never been able to do calligraphy. Though the pair of designers had not intended to

break rules, Emigre started a typographic rebellion as a result of their explorations of the new tools and capabilities

created by the computer.

Emigre’s radical design choices drew a great deal of attention from designers and critics alike, and in the beginning,

they faced severe opposition. Some critics saw the creations as barbaric and described Emigre’s postmodern design

as “the degradation of culture” and “The Cult of the Ugly.” However, after awhile, the arguments subsided and Emi-

gre grew to become an influential record label, merchandise vendor, and journal for design dialogues, and since then,

the foundry has designed and licensed over 300 different typefaces from a variety of artists.

WRITTEN BY JT WANG

Émigré

Erik Spiekermann is a German typographer and designer who started his education at Berlin’s Free University studying

art history. During his stay at the university, he funded himself by running a letterpress printing press in the basement of

his house. He later went on to establish FontShop, in 1988, the first mail-order distributor for digital fonts, with his wife

Joan. This later evolved into many other companies that strived to publish and distribute fonts to artists and designers all

over the world. During this time, he worked at MetaDesign, a global design consultancy. He currently holds an honorary

professorship at the Academy of Arts in Bremen as a board member of German Design Council.

As an established designer, he has written many books such as Stop Stealing Sheep & Find Out How Type Works and

redesigned the magazine The Economist, a publication based in London. Through out his career, he has created many

commercial typefaces such as Berliner Grotest, Lo-Type, ITC Officina Sans, FF Govan, and FF Meta Serif.

Spiekermann had achieved many milestones in his career, one of them being a Honorary Doctorship for his contribution

to design in April of 2006 from Art Center College of Design. He later collaborated with designer Christian Schwartz

where they successfully designed the Deutsche Bahn family typeface. This won them the Gold Medal at the German

Federal Design Prize in 2006. The following year, he was elected into the European Design Awards Hall of Fame.

Erik Spiekermann has the opportunity to participate in First Things First 2000 Manifesto, a collaboration of a group of

international graphic designers in 1999 that followed the publication of First Things First Manifesto in 1964. The goal

was to generate discussion about the education and press exposure in the design profession. Erik Spiekermann was one

of the thirty-three designers to sign the manifesto with the concerns of “free design” and the right to take a stand on who

and what they are designing for.

Spiekermann is currently residing in Germany and runs his own company called edenspiekermann_.

Fun Facts:

· His first love when it comes to typefaces is Reklameschrift Block

· He believes FF Info Office is underrated

· One of his proudest projects is making the buses and trams in Berlin as well as designing the German Railways

corporate design.

· He believes Arial is the most overrated font in the world

WRITTEN BY SARAH ANN NAKAMURA

Erik Spiekermann

CHAPTER FOUR

Modern Masters

Recognized for his unique contributions to the world of design, Herb Lubalin is one of the most successful and fore-

most American graphic designers and typographers of the twentieth century. Although he is colorblind and started

working back in the day when designers utilized drawing boards and workstations, Lubalin’s design is still perceived

as futuristic and innovative. As the creative mind behind the culture-shocking magazines of the 20th century, includ-

ing Eros, Fact, Avant Garde, and U&IC, the designer introduced a fresh and groundbreaking style to his audience.

In fact, his logotype for Avant Garde magazine was so high in demand that he later released the complete set of the

font called, “ITC Avant Garde.”

The expressive typography of “ITC Avant Garde” is reflective of Herb Lubalin’s vision in his design. The form of

the tight, all-majuscule, and sans-serif typography is slanted to the right, as if headed towards the future and embrac-

ing the futuristic context of its existence. By giving the letterforms the shape and voice of the meaning of the word

“Avant Garde” itself, Lubalin manipulated the form into an inseparable part of the word’s meaning.

Herb Lubalin was a designer who constantly sought for ways to create typographic innovations. His wildly illustra-

tive typography is a result of his imagination and insight, combined with his talent. His inventive typographic designs

go beyond the twenty-six alphabet characters; by bringing a new aesthetic that emphasizes the shock of meaning

to the world of design, publishing and advertisement, Lubalin has changed the course and constraints of design for

those who were to follow. Lubalin’s typography is significant because it is a representation of how an idea is con-

veyed from one to another—how meaning is communicated through its form. The designer’s ability to incorporate

sensitivity and meaning into his typography has profoundly influenced young designers and continues to inspire

those who desire to push the boundaries of contemporary design.

WRITTEN BY DAWN LEE

Herb Lubalin: Meaning Matters

Ed Benguiat is a scrapper - Ex-military, musician, Illustrator, typography. Supposedly,

after walking into the musician’s union one day saw other older musicians, who played wedding receptions and bar

mitzvahs. He was like “screw this I want to

be an Illustrator!” Fortunately for Benguiat, his father was a lead illustrator for a New York department store so he was

around those type of tools, influence, and opportunity, since the age of nine.

Ed Benguiat became a prolific lettering artist and became the typographic design director at a company called Photo-

Lettering, which failed by the way. But Benguiat’s impact on the type community involves more than just design. He

played a critical role in establishing the International Typeface Corporation, the first independent licensing company for

type designers. Ed jump-started the type industry in the late ‘60s and early ‘70s.Eventually he became known for logo

designs for Esquire, The New York Times, Coke, McCall’s, Ford, Reader’s Digest, Sports Illustrated, and Estee Lauder.

He created new ITC typefaces such as Bauhaus, Tiffany, Korinna, Panache, Modern No, 216, Bookman, Caslon No.

225, Barcelona, and Avant Garde Condensed to name some of them. At some point, “The Ed Benguiat Font Collection”

came into being, which is listed as a casual font family, named after the designer, which includes not only five typefaces

but a series of dingbats, or what House Industries staff dubbed, during an interview, “bengbats.” This was a collection

of glyphs bases on his jazz percussion background. Benjuiat laments that student designers now show more interest

in learning the computer rather than mastering the art of designing letterforms. “Too many new designers substitute

technology for talent, thinking they’ve got a Mac and now they can draw a logo or a typeface. You have to learn to draw

first. The computer won’t do it for you.” He’s convinced that showing a font in an A-B-C format is not the best way to

sell it. You’ve got to SEE IT in action, typographically arranged exactly the way the designer had in mind. Each piece of

designed typography should be, so to speak, a beautiful work of art within itself. That’s what typographic communica-

tion is all about, “Liberating the Letter!”

WRITTEN BY ALBERT MONTGOMERY

Ed Benguiat

Ed Fella was born in 1938. He grew up in Detroit Michigan and studied at Cass Technical High School where he stud-

ied hand lettering, illustration, and commercial art. After that he went into the graphic design industry where he did a lot

of work for automobiles. He then went back to school and studied at Cranbrook Academy of Art where he was able to

experiment and explore art and design together.

Today, he is an extremely well recognized graphic designer, artist, illustrator and educator. His work is very different

from what we usually expect from graphic design in our time, which is expected to be clean and structural. His work

breaks the rules. He deconstructs and distorts letterforms, using various different shapes, forms, spaces, and thicknesses.

His hand lettering is an outburst of fun movement and combinations of aspects belonging to different categories. Al-

though at first glance his work may look disorganized or too free, each part of it is done extremely skillfully.

He combines serifs with san serifs, dingbats, scripts and much more. Since he pushes so many boundaries of people’s

common perceptions of design, he is known as a controversial designer. Nevertheless, his design has a great influence

in the industry, is extremely well received, and is followed by many people.

His way of mixing and matching, creating work that looks perhaps crazy, very quirky, and extremely eccentric really

changed how the current generation of designers think and work today. In a world where the definition, methods, and

role of design are continuously changing with the transformation of society and culture; his work helps us to once again

question what exactly defines good design by pushing the boundaries of innovation and creativity, yet still creating work

which communicates and gives purpose.

WRITTEN BY VICTORIA HORNG

Ed Fella

Neville Brody is perhaps one of the most popular graphic designers of his generation. He studied graphic design at the

London College of Printing and first worked on record cover and magazine designs, establishing his reputation as one of

the world’s leading graphic designers. In particular, his innovative artistic contribution to The Face brought his artistry

to another level. Brody also won much public acclaim through his ideas on incorporating and combining typefaces into

design. Later on he took this a step further and began designing his own typefaces, thus opening the way for the advent

of digital type design.

He was one of the founding members of FontShop in London and over time has designed 24 font families. A distinctly

notable font is the updated font Times Modern for the Times newspaper. In addition to pouring himself into design, he

was also partly responsible for starting the FUSE project, holding conferences to bring together speakers from design,

architecture, sound, film and interactive design, and web.

What resonated with me more than his multiple decades of provoking design and typographic work are his views on

creativity and the future of innovation. Brody believes that designers should take more risks and help draw attention

to social issues. He advises that with regards to politics, young designers have to find their own platform. The point

he makes is that it’s more about being a conscious designer than anything else. Some designers don’t think about the

consequence of their work, they are just motivated by money and making things look ‘nice’. Then there’re others who

are only interested in designing for other designers. He hopes to teach by giving context and getting students to engage

with the idea that everything they do will somehow affect the society that they live in.

He admits that for a time graphic design had lost its relevance with many designers halting experimentation and simply

conforming. Their work became a case of style over substance. Brody that the main medium holding designers back is

the digital screen. Digital is becoming a utility. A few decades ago when people first started thinking about the potential

of the internet, he expected much more innovation and experimentation by now, and so he tries to push out from being

boxed in in order to be great and hopes the same from other designers.

WRITTEN BY KATHERINE VUONG

Neville Brody

CHAPTER FIVE

Designer Mayhem

Despite his indisputable influence in graphic design, David Carson manages to be a controversial designer to this day.

Compared to many influential typographers, Carson does not come from any ordinary formal art school background.

Rather, into his mid-twenties, Carson was a professional surfer in California. It was not until he was twenty-six and

enrolled in a short design course that exposed him to the wonders of typography. This unorthodox entry into the field

is quite likely responsible for his unique impact. He experimented with type in ways that other artists with more formal

typography education did not, manipulating text and throwing letters around that often rendered them illegible. Hence,

Carson’s most distinguished work was the source of debate seeing that it destroyed much of the communicative value of

typography that many hold to be its primary purpose. However, at this expense he enhances the expressionistic qualities

of type before a viewer even reads the text.

Carson has worked on a variety of publications over the course of his career, and his first role as an art direc-

tor was for Transworld SKATEboarding in the 1980s. Over the course of his time there, he refined and began to gain

notoriety for his distinct style of design. The covers he designed demonstrate early decisions to manipulate and combine

different typefaces, type sizes, and colors into individual headlines. In doing so he successfully captures the youthful

and countercultural idealizations of skater culture. Similarly, his other work facilitates its own messages through the

messy layouts of text. He became the first art director of Ray Gun, a surf and music magazine in 1992. Seeing that the

beginnings of this publication were rooted in Carson’s vision, it very much had a distinct style, adding to the cutting-

edge aesthetic that the magazine embodied. His work in particular building elaborately chaotic typographical designs

for Ray Gun garnered him enough fame to be featured in publications such as the New York Times.

After Ray Gun Carson went on to found his own design agency, David Carson Design, which still operates

today. As the head of the agency, Carson revisited his passion for publications and created his own travel magazine,

Blue which circulated for three years. David Carson Design has done work for companies with as high of profiles as

NBC, American Airlines, Pepsi Cola, and Toyota amongst many more. His agency has maintained his unique aesthetic,

with text all over the place and designs with aesthetics reminiscent of collage. Carson relays the significance of his

upbringing and unique background to be a driving force in his typographic work. Today, he largely lectures including

appearing on a TED Talk, and he emphasizes the importance of the individual voice, and that each person’s own unique

experiences should shape what he or she produces. Ultimately, Carson’s work is admirable not only in its own inven-

tiveness, but also that it encourages peers and other type designers to think about communication in new ways.

WRITTEN BY TREVOR THORPE

David Carson: Type Fanatic or Genius?

The Story Behind the Typeface You Probably Hate The Most

Comic Sans MS is one of the most polarizing typefaces in the design community. Even people who aren’t designers

have learned to dislike the typeface. It’s almost a force of habit for most to despise Comic Sans. While the typeface itself

is relatively known by many, neither the man behind the it nor the story of Comic Sans have been brought to light. The

history behind Comic Sans and its designer provides interesting insight about the typeface and can perhaps enlighten

many on a typeface that they have grown to dislike.

Vincent Connare designed Comic Sans when he was working for Microsoft in 1995. Connare is also the designer behind

Trebuchet MS as well as one of the designers behind Webdings. He began working on Comic Sans in 1994 after seeing

a beta version of Microsoft Bob, a personal assistant software being developed by Microsoft in the ‘90s to appeal to

younger users. The software featured cartoon characters with word balloons and messages set in Times New Roman.

Connare found the typeface to be inappropriate for the given context of the software, so he started to design Comic Sans.

As implied in the name, the typeface was based on the lettering style in comic books that Connare had in his office,

namely The Dark Knight Returns and Watchmen. He was careful not to copy the lettering used, but instead pay close

attention to the shapes the letters made considering that comic letterforms were usually manually written at the time.

Comic Sans wasn’t actually completed in time for the launch of Microsoft Bob. A rough copy was made when Mi-

crosoft Bob was finished, but the typeface was larger than Times New Roman, so it interfered with the metrics of the

program. While it was too late for Microsoft Bob, the programmers of Microsoft 3D Movie Maker--which also used

cartoon characters and speech bubbles--began to use the font in their software. Comic Sans was later included in the

Windows 95 Plus! Pack and then became a standard font for Windows 95. The typeface eventually became one of the

default fonts for Microsoft Publisher and Microsoft Internet Explorer.

Interestingly enough, such inclusion of the typeface in other programs was not what Connare had intended. Connare

designed Comic Sans for applications that were primarily targeted toward children, which was what Microsoft Bob

was at the time. It was the widespread inclusion of the typeface in so many programs that allowed it to gain popularity

among people of all ages. Connare believes that people liked the font because it was fun and simple. Apple even used

Comic Sans as the default font for Apple iCards when they were first released. Ironically, this lead to wider use of the

typeface, perhaps overuse of it in appropriate situations, similar to the situation that lead to Comic Sans being created.

According to Connare, the main designer of Twitter said that the most server space is used by complaints about airlines,

Comic Sans, and Justin Bieber--in that order.

WRITTEN BY BRANDON SINGH

Vincent Connare

Lawrence Weiner was a leader of the Conceptual Art movement of the 60s. Thus, in order to understand Weiner as an

artist and typographer one must understand the Conceptual Art movement as a whole. Conceptualism, like its coun-

terpart Minimalism, is more easily described as a philosophy than as purely an artistic movement. As a reaction of the

Contemporary and High Modern art scene during its time, Conceptualism was arguably born through Marcel Duch-

amp’s works known as readymades. These readymades have made it possible for the art world to expand its mind into

accepting more conceptual works such as the works of Lawrence Weiner.

Weiner is most well known for his typographic pieces. One of the initial pieces that he made based in typography was

his book “Statements” which contained exactly that, statements, throughout the entire book. Weiner’s work despite be-

ing made primarily in text has been described as embodying every aspect and dimension of physical art. Weiner’s most

famous workers use a phrase or statement and typographically lay them out onto a wall or site. Through his typography

he was able to transcend his art from a conceptual realm into a metaphysical one. One other approach that Weiner uses

is site-specificity to encapsulate the site as a whole and adding his statement into the site thus creating a new meaning

for the site as a while.

Lawrence Weiner’s “Bits and Pieces” piece spells the line “bits and pieces put together to present a semblance of a

whole” on the side of a building with a crevice going through the middle of the text. Weiner uses crevice as a guide

for his work by aligning some words to it and more cleverly kerning evenly but also words are not obstructed by the

crevice. Other pieces he has made use this same method of combining site and type to create a piece that is greater than

each individually.

WRITTEN BY ANDREW HURLBUT

Lawrence Weiner

Comic Sans has been the most hated font of this era by designers, and Helvetica, too, is receiving a rising controver-

sial reaction from the design community, and there are historical, technical, and subjective reasons to account for the

phenomenon.

First of all it is the exposure. Comic Sans is a casual, non-connecting script font that was made by Vincent Connare for a

very specific situation—a friendly speech bubble for Windows 95. And it was then carried out by Microsoft as one of the

default fonts in its operating system, and very soon it was largely celebrated by the public, and reached its high time of

misuse. It quickly appeared everywhere and on any publications, as it seemed to draw more attention from the general

public in the pool of traditional fonts. The exposure resulted in backlash, especially when they are used in inappropriate

situations like formal emails, legal documents and serious notifications. Helvetica, at the same time, is used massively

around the world as a professional Swiss font since 1957, when first developed by Max Miedinger. It was so loved and

there is even a film for it. Its wide popularity makes it one of the most used fonts in the entire planet, and several large

companies have used it for their brand identities.

These two fonts also have technical reasons for the controversial reactions they are getting. Comic Sans has very poor

kerning when used as the body copy. And in terms of font design, it is constituted of inconsistent edges and weird

angles. Besides, it may not even be a good comic font due to its awkward and unnatural strokes. However, it is often

praised for its legibility. Helvetica, despite that it is a professionally designed sans serif typeface that follows design

principles, has strokes that are too ubiquitous that barely communicate to the contemporary audience at all.

And sometimes we designers just hate popular things, especially design related stuff that are mindlessly used by “the

average people”. When some fonts are used too much, they are perceived emotionally different in the social context.

Comic Sans would imply “bad taste” and everyone knows immediately that you are not are well-trained designer.

Helvetica, on the other hand, means “tasteless” ‘’boring” and “playing safe”. Partially due to these implications, Comic

Sans and Helvetica are generally not favored as much by contemporary designers.

Interestly, there is a revival of Comic Sans going on right now. The Comic Sans Project includes some very impressive

examples to use Comic Sans the “right” way, which really emphasize its playfulness and try to avoid some technical

issues it may have. Overall, the conversation around type showcases the awareness not only from within the design

community but also the general public, which is an achievement by itself.

WRITTEN BY IVY LI

Comic Sans and Helvetica