Hermann Zapf

In 1975, a journalist wrote, "Hermann Zapf is one of the most important type designers of our time”. From his first typeface designed when he was just 20 years old (Gilgengart), through more than 200 others right up to the present day, Zapf's work has achieved an unmatched popular success, while maintaining an aesthetic level which has earned him praise from professionals throughout the world.

Several of his most popular type designs, such as
Palatino, Optima, ITC Zapf Chancery Italic and are
resident on most home computers. Other fonts, such as
Michelangelo, Zapf International, and Zapf Renaissance
- among numerous others - are the mainstay of many
of the finest graphic designers of today.

Since his designs were - and still are – very popular, competitors often produced virtual clones of Zapf’s typefaces for their own customers. After seeing this happen time and again, Zapf concluded that it was neither intelligent nor profitable to continue a career designing typefaces for others to plagiarize. In the mid-1960s, Zapf stopped designing commercial typefaces.
Over a decade passed before a new typeface
of his was released. Between 1977 and 1987, Hermann Zapf worked as a professor at the School of Printing in Rochester, New York. There he was introduced to new technology and, able to learn and grow with the changes of the time, he eventually did ground-breaking work in the digitalisation of fonts for computer software, redesigning a great many fonts for digital processing.

http://www.creativepro.com/article/dot-font-hermann-zapf-at-87
http://www.art-directory.info/design/hermann-zapf-1918/
http://designers.linotype.com/hermann-zapf/
http://new.myfonts.com/person/Hermann_Zapf/
http://www.stepinsidedesign.com/STEP/Article/28799/

typography that focused on cleanliness, legibility and objectivity. This was a great influence on Greiman, this methid of viewing type and it’s space was the starting point Greiman used to move further, stretching the boundaries of view points to create the style “New Wave” as we know it today.

DAviD cArsoN



David Carson's jarring and visually chaotic magazine spreads; posters and print ads have consistently challenged the boundaries of legibility and typography.



Known best for his work with experimental typography and his cutting-edge magazine design and is the creator of Generation X’s new standard for type.

"He was the first to mix and match funky off-beat type faces with traditional ones in order to add texture and diversity into his work. His typographic experimentations have been admired by recent generations for their rebellious messiness that closely imitated the social scene of the 1990s."



For a self-taught designer he is thought to be one of the most significant graphic designers of the nineties.

Carson busted the old typography practice, as a result of his use of desktop publishing programs like, PageMaker, QuarkXPress and Illustrator. He was able to trail new methods like, overlapping and warped fonts and combined these with his impactful photography.



During the late 80's and 90's Carson transformed the design world with his innovative typeface designs. His 'Dirty' type and his fringe photography resulted in his characterized title 'father of grunge'. Clearly having worked as a sociology teacher and professional surfer in the late 1970s strongly influenced his style and designs.

Carson finds much of his motivation in the visual garbage of modern-day livelihood. Hand lettered signs, torn and layered poster kiosks and the eroded storefronts experienced in city streets work as backdrops that Carson equates into the digital realm.


Graphic designers would be wise to follow the advice of David Carson: “Trust your gut. Do what you love. Life’s to important to be taken seriously.”

http://www.chapter19.com/biographies/david-carson
http://www.davidcarsondesign.com/
http://www.hillmancurtis.com/index.php?/film/watch/david_carson/
http://www.adobe.com/ap/web/features/carson/
http://images.google.com.au/imgres?imgurl=http://www.designjones.co.uk/wp-content/uploads/2009/04/david-carson.jpg&imgrefurl=http://www.designjones.co.uk/tag/typography/&usg=__7HthKWGzrjzLll3QmFWXg9HVrTU=&h=400&w=725&sz=172&hl=en&start=8&um=1&itbs=1&tbnid=6yRr6SIdHsy9HM:&tbnh=77&tbnw=140&prev=/images%3Fq%3Ddavid%2Bcarson%2Btype%26um%3D1%26hl%3Den%26safe%3Dactive%26client%3Dfirefox-a%26sa%3DN%26rls%3Dorg.mozilla:en-US:official%26tbs%3Disch:1

Post 3: Cien: Typography. Neville Brody

Neville Brody



Neville Brody’s work has always been considered too experimental. As he says “ Digital design is like painting accept the paint never dries.” Neville Brody is known as an art director and type designer. He has done numerous Record covers such as Cabaret Voltaire and Dépêche Mode.

Neville Brody has worked on many well known magazines such as, The Face, City Limits and Per Lui.

Brody’s typographic style was aesthetic elements from Art Deco and betrays non-European influence. His graphical language has become an international model for new age of computer oriented design.

Neville Brody’s work focuses largely on electronic communications design. At the same time, he continues to create his distinctive and striking digital typefaces. His contributions to the world of graphic design and digital typography are entirely priceless. Often referred to as a “star typographer”, Brody has designed a number of very well-known typefaces.

Such as;

Arcadia
Industria
Insignia
Blur
Pop
Gothic
Harlem

-follow this link to see the rest of Neville Brody's Typefaces-

http://www.linotype.com/669/nevillebrody.html?PHPSESSID=6a564266c01e53b9f9e8fe2a3b10c640

http://www.fontshop.com/fonts/designer/neville_brody/

http://www.artdeco.org.au/artdeco_pages/artdeco_whatis.html

Milton Glaser first came on the scene in 1954, when he co-founded the groundbreaking Push Pin Studios with his Cooper Union classmates, designer sand illustrators Seymour Chwast and Edward Sorel. Push Pin's revival of the union of art and ''typography'', as well as its use of cultural references and visual language, came to both define the aesthetic of graphic design by merging genres and styles into something new and fresh. And following World War II, when photography was highly popular in design work, Push Pin greatly revolutionized the direction of modern visual style by reviving the drawn illustration.


During this time, Glaser also helped launched New York with legendary editor Clay Felker. The magazine elevated the intersection between design and text, and became the model for scores of city magazines across the country.

"My sense is not to be allergic to style or mores in time," he says. "I see it as a continuous conversation. My resources run deep from African art to Japanese watercolor to Modernism to Dada."

http://new.myfonts.com/person/Milton_Glaser/

http://www.businessweek.com/innovate/content/jan2006/id20060103_370096.htm

TYPOGRAPHERS - Neville Brody

Neville Brody was a typographer, graphic designer and art director. Brody is perhaps the best known graphic artist of his generation. He uses letters and numbers in his art pieces with an anti-traditional view on art. He played at the margins of visual language and used it to launch a revolution in typeface design.

Brody has worked on magazines such as The Face and Arena and has designed album covers for artists such as Cabaret Voltaire and Depeche Mode. He is a founding member of Fontworks (click here to see the online branch of Fontworks).

Brody has designed many fonts, including:, Arcadia, FF Blur, FF Dirty 1, Times Modern and FF Dome.

The font Arcadia designed by Brody.

"FF Dirty One" font by Neville Brody

The most notable font that Brody has worked on in his career, is the updated version of the "Times Modern" which was specifically designed for the Times paper in November 2006. The typeface shares many visual similarities with Mercury designed by Jonathan Hoefler. It is the first new font at the newspaper since it introduced Times New Roman in 1932. To read an article about it, click here.

The front page of The Times with Brody's font in the titles.

Here is a list of fonts that Brody has created. Click on each name to see the font face.




http://en.wikipedia.org/wiki/Neville_Brody#Fonts_by_Brody
http://new.myfonts.com/person/Neville_Brody/
http://www.designweek.co.uk/news/neville-brody-updates-the-times-for-web-savvy-public/1133336.article

POST: 2 Typography

“Typography is a beautiful group of letters, not a group of beautiful letters” 

Steve Byers

Select one of your designers. Show and tell of their contribution to twentieth century typography. 250 words, 5 images, 5 links and comment on two other student posts. due march 9, 2010.
If neither designer chosen works in typography choose from the following list

Jan Tschichold /Giambattista Bodoni /Hermann Zapf/ Adrian Frutiger/ Frederic W. Goudy/ Carol Twombly