The use of typefaces in Sign Design

The proliferation of typeface designs on digital data discs led by the 1980s to the availability on a single system of more than one thousand designs. Linotype, for example, had five versions of Baskerville which, with different weights and italics, amounted to twenty-six in all. The rel­ative cheapness of the system and the ease with which new typefaces could be generated by manipulating existing designs by computer allowed designers access to exotic designs which had previously been available only as photo-lettering or transfer lettering.

In 1970, Lubalin had co-founded with Aaron Burns the Internation­al Typeface Corporation. To advertise their designs, ITC launched a large-format tabloid journal, unmistakeably American from its logo to its layout. Under Lubalin's art direction it was more like a women's weekly than a technical news-sheet. In fact, during the 1970s, many magazines changed their typefaces for the heading of each article (like the New York weekly art-directed by Milton Glaser), and came more and more to resemble ITC publicity.

Glaser was the American designer most admired abroad. His eclectic interests in The use of typefaces in Sign Design, were shown at the Pompidou Centre's one-man exhibition: he worked comfortably in narrative illustration and Victorian-style typog­raphy, and sometimes, brilliantly, in a modernist idiom of geometry and sans-serif type. He redesigned Paris Match in 1972, in a smaller format, at the same time nearly doubling the size of Widmer's exquisite Jardin des Modes.

Art-school students went to Europe, many to the Basle Gewcrbe-schule. If they had come for the bland recipes of Armin Hofmann, they came away with Weingart's enthusiasm for breaking rules – for typo­graphic expressionism. This helped to create a 'new wave', in which elec­tronic technology was used to generate and manipulate type and imagery, and the microcomputer became a design tool. The wave swept up many of Modernism's formal elements (typeset 'rules' and sans-serif types) and emptied them out on the paper in curves, at odd angles and in fad­ing perspective. The tide flowed most strongly in California, but also at the Cranbrook Academy of Art on the outskirts of Detroit (where Eames had taught in the 1940s), at MIT and in New York. The use of typefaces in Sign Design

Employees working for the Executive Office of the Mayor who create any sort of graphics to be presented to the public must use the sans-serif font Neutra in official graphic designs and headlines used on printed city material….via The DC Government's Preferred Typeface Is the Same as Shake …

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Typography is everywhere. It's how we see written words, so anywhere we come across words we see typography. These words can be found on screens, paper, and signs all around us. With typography we can change the “look and feel” of these words, changing how they impact readers. … A typeface is the general design of a collection of characters (words and symbols), while a font is a specific size, weight (how thick the letters are), style, and use of a typeface….via Web Design for Kids: Typography – Tuts+ Web Design Tutorial

 

 

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