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 …

Choosing the right font is an important aspect of any web design project. There are hundreds, even thousands, of great options out there and many can be used with free licenses thanks to tools such as Adobe Typekit and ……via Typekit vs. Google Fonts: Pros and Cons | Design Shack

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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Use of Graphic Signage in Protest.

In the late 1960s students and protest groups took control of the print­ing process itself in the most surprising challenge to technical advance and electronic media. They were responding to a series of events, pre­dominantly the war in Vietnam, but including the assassinations of Che Guevara and Martin Luther King in 1967 and 1968, followed in 1968 by the Paris 'events' in May and the Soviet invasion of Czechoslovakia in August. The state had television to air its views in people's homes; the students had the streets to put their case. Demonstrations, often violent, showed the depth, breadth and passion of their support, but it was their posters that produced a dramatic and indelible impression, in the use of use of graphic signage in protest.

During the student revolt in Paris in May 1968, posters were pro­duced by the Atelier Populaire, students of the Fxole des Beaux-Arts. Their technique was mostly silkscrecn, a process whose economy was matched by an extreme graphic compression. Slogans often originated in the defiant war-cries of students confronting police on the streets. Chalked on a blackboard and refined by a committee, they were the basis for three hundred or more designs which were distributed by students and workers throughout the capital.

The messages were unequivocal, the printing was urgent, sometimes in a single colour, but essentially black on white. A repeated device, to reverse a slogan in white from a black image, originated directly in the silkscreen process where the screen stencil was prepared in negative. The students exploited the sim­plicity of the graphic means (the hand-drawn lettering and brushed sil­houettes) to question the complex apparatus of printed image-making in the consumer society whose values they opposed. Neither in the medi­um nor in the message was there room for modulation of tone into pho­tographic greys, or into the distraction of colour.

This direct type of printed graffiti was produced in poster workshops in many countries. It was a propaganda weapon, quick to respond, as in Czechoslovakia after the Soviet invasion in 1968. It was used to stimu­late protest in the face of authority by student groups, and it spoke for feminists and activists on social issues.

Posters too were important in calls for disarmament and peace, par­ticularly in Vietnam. Some were the work of professional designers. In New York, agency art directors combined to produce advertisements for the Committee to Help Unsell the War, applying the same arrangement of image, headline and text which they used every day to sell products and services.

The most powerful demonstration of the effectiveness of the still image and printed text was produced in 1970 by the Art Workers Coali­tion in the United States. It appropriates familiar techniques from tele­vision news reporting – documentary photography and interview dialogue. A colour photograph of massacred Vietnam villagers is over­printed with an enlargement of crudely printed text, from the question­ing of a witness about his orders, the laconic 'Q. And babies? A. And babies.' Not momentarily on the flickering screen but frozen on the printed sheet, the viewer absorbs the horror of the photograph to which the words give a yet more horrifying meaning.

In the domestic interior, the cultural and political poster became a decorative and reassuring sign of its owner's allegiance and status. Such posters extended the boundaries of graphic design, which was no longer associated only with commercial interests. Production did not depend on the printing industry nor on the professional designer. The individ­ual could now originate the message and control its means of production. Use of Graphic Signage in Protest.

2015 Graduation Season means Graphic Signage Service needs from HG Signs in Ann Arbor, Michigan….via GRADUATION SEASON – GRAPHIC SIGNAGE SERVICES – HG …

Typography enthusiasts notice instances of letterforms everywhere, from street signs to take-out flyers. What was once a specialized field within graphic arts and sign painting has become a practice of urban living; hashtags ……via We See The Signs: Graphic Design, Typography and Surveillance …

Graphic Expressions designs, manufactures and installs custom Way Finding and ADA (Americans with Disabilities Act) sign systems to compliment your interior and exterior design. We are happy to collaborate with your architect, general ……via ADA and Directional Signage – Graphic Expressions

 

 

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Corporate Graphic Design Orange County

Corporate Graphic Design Orange County

While America was exporting mainstream modern graphic design to service the international corporations, it was still importing design ideas, particu­larly from the European avant-garde. In some ways, there was a con­vergence of the techniques of East and West. Among the Modernist designers working for large corporations from the 1970s (who were also heroes of the Japanese) were Saul Bass, Paul Rand, and the New York consultancy of ChermayefF & Geismar. Bass's trademarks for Quaker Oats and Girl Scouts, as abstractions, have the positive/negative rela­tionships he employed the same photographic techniques as the Japanese in his poster for the Los Angeles Olympic.

Paul Rand, who designed one of the first covers for Ideas, was still winning awards for his company identities (IBM won the AIGA Design Leadership Award in 1980, Cummins Engine Company in 1983). They were in the mainstream Modern manner shared by Chermayeff & Geismar, who had given Mobil a new graphic signage style in the 1960s. The outdoor advertisements of the 1970s and 1980s for the television programs spon­sored by Mobil, designed by Ivan Chermayeff, refer to European models for their papiers colles and their typefaces. Indeed, in Rand's book of essays, A Designer's An (1985), all the modern references are to Euro­pean culture, to Picasso, Matisse, Miro. American vernacular graphics – design without designers (the Coca-Cola sign, Walt Disney's anima­tion, comics) – are conspicuously ignored.

Attention to the everyday Corporate Graphic Design Orange County language surrounding us appeared in Learning from Las Vegas (1972), a polemic by the architects Robert Venturi and Denise Scott Brown. This large-format book was as impor­tant for its ideas as for its design and production techniques. Typeset by IBM typewriter in Univers, elegantly laid out by the MIT Press design­er Muriel Cooper, its flexible grid allowed the arguments to be made visually by extreme contrasts of density, in refined but expressive Euro­pean accents.

Signs were a Post-Modernist concern. Venturi and others discussed buildings as signs or composed of signs, and as part of a larger 'commu­nication system' which included commercial street signs ('Billboards are almost all right'). Paradoxically, this was at a time when the Highways Commission was undertaking a review of signs with the help of the AIGA.

The signs at Las Vegas International airport were certainly interna­tional, designed by the John Follis office in the Schiphol tradition. Instead of Helvetica, though, they used the typeface Avant Garde. The letters had a functional appearance (like the Futura that Chermayeff & Geismar re-vamped for Mobil). They were geometrical, but designed to be decorative, starting life in 1968 as a magazine logo by Lubalin and Tom Carnase. Since the 1960s Lubalin had moved closer to a recogniz­ably American style, revivalist and eclectic – the style identified with Push Pin Studio, particularly Milton Glaser.

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 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 Gewerbe-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. Corporate Graphic Design Orange County.

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Font Design for Business Lighted Letters Irvine, Ca.

At the Bauhaus, a thorough analysis of visual communication began with an examination of the alphabet. In German, there were special prob­lems: the prevailing style for text was black letter, whose archaic form clearly did not belong to the machine age. A more radical approach was taken to the use of capitals for the initial letters of nouns. A footnote which appeared on the Bauhaus letterhead designed by Herbert Bayer in 1925 stated the school's attitude uncompromisingly: towards a simplified way of writing

1. this is the way recommended by reformers of lettering as our future letterform. cf. the book ^lsprache undschrifi¹ [speech and letterform] by dr. porstmann, union of german engineers publishers, berlin 1920.
2. in restricting ourselves to lower-case letters our type loses nothing, but becomes more easily read, more easily learned, substantially more economic.
3. why is there for one sound, for example a, two signs,

A and a? one sound, one sign, why two alphabets for one word, why double the number of signs, when half would achieve the same? Font Design for Business Lighted Letters Irvine, Ca.

The attempts made at the Bauhaus and elsewhere to devise new letter-forms all had a strict geometric base. Geometry was the basis to a func­tionalist shunning of Renaissance designs, Fraktur and the Germanic craft tradition of heavy calligraphic typefaces, like Rudolf Koch's Neu-land of 1924, where the mark made by a craft tool, rather than an imposed formal idea, determined the design.

Koch followed Erbar, a geometrical typeface of the early 1920s, in his Kabcl (Cable) which appeared at the same time as the most popular of the new sans-serif types, Futura, in 1927. The Bauhaus teachers Josef Albers and Joost Schmidt worked on a number of alphabets, but Bayer applied himself most consistently. Like the others, his Universal (1926) is constructed from circles and straight lines of a constant thickness on a grid of squares, for a Font Design for Business Lighted Letters Irvine, Ca.

The first declaration of the aims of this 'New Typography' (as it was soon called) stated no preferred style of type. 'We use all typefaces, type sizes, geometric forms, colours, etc,' wrote Laszlo Moholy-Nagy, in 1923. Moholy-Nagy, a Hungarian painter, had arrived to teach at the Bauhaus only months before it opened its doors to the public during the summer of that year with an exhibition explaining its aims and achieve­ments for the designs of  Font Design for Business Lighted Letters Irvine, Ca.

These were also set out in a book, Staatliches Bauhaus in Weimar igig-ig2j, where Moholy-Nagy's statement appeared, and whose design demonstrated the new approach. The cover was filled with the title, drawn in sans-serif capital letters by Bayer. The inside pages, designed by Moholy-Nagy, made free use of white space and black rules which, in the contents pages, were used as huge Roman numerals.

One of the visitors to the Bauhaus exhibition was a young calligraph-er and book designer who taught in the Academy in his home town of Leipzig, centre of the German book-printing industry. Jan Tschichold was to become the chief propagandist for the New Typography, begin­ning in 1925 with elementare typographic, a special issue of the trade jour­nal Typographische Mitteilungen. This was planned as a Bauhaus issue but included the work of non-Bauhaus designers, particularly Lissitzky. Tschichold elaborated ten 'elementary' (meaning 'basic') principles, beginning with:

1. Typography is shaped by functional requirements.
2. The aim of typographic layout is communication (for which it is the graphic medium). Communication must appear in the shortest, simplest, most penetrating form.
3. For typography to serve social ends, its ingredients need internal organization – (ordered content) as well as external organization (the typographic material properly related).

He went on to stress the importance of the photograph; of sans-serif types as the most correctly 'basic' – although he admitted the legibility of Renaissance Mediaval-Antiqua typefaces; the importance of the reprinted areas of paper; the possibility of lines of type set obliquely or vertically; the adoption of standardized DIN (Deutsche Industrie Normen) paper sizes, such as A4 for writing paper; and the rejection of all ornament other than squares, circles and triangles, and then only if these were rooted in the overall construction. Tschichold developed and refined his theme in the most important single document of the Modern Movement – his book Die neue Typographic, published in 1928.

At this time Tschichold was teaching in Munich at the printing school under Paul Renner, designer of the Futura typeface, where he was joined in 1929 by Georg Trump, designer of the odd City type (1930). This tri­umvirate perfected a functional modernism in jobbing printing, partic­ularly in ranges of stationery designed like forms to be completed by the typewriter. Tschichold's cinema posters, lithographed in two colours, were mainly abstract compositions with hand-drawn lettering, often arranged diagonally, with a single small photograph, often circular.

The most interesting of these is Laster der Menschheit (Man's Depravity), show ing the star Asta Nielsen filling almost a third of the poster in the top right-hand corner. Her photograph appears as though on a cinema screen, which is suggested by lines radiating from the bottom left of the design; these lines define the corner of the screen, and the film title highlights and name of the cinema are angled in the same perspective as the screen. It exemplifies, almost caricatures, Tschichold's aim to derive the graphic elements from the content, not only advertising the star and the indi­vidual film, but also exposing the general nature of film as an enlarged, projected image. Font Design for Business Lighted Letters Irvine, Ca.

The Screwtape Letters: C.S. Lewis' Novel on Stage, Starring Max McLean. Irvine Barclay Theatre, (4242 Campus Drive Irvine, CA 92612). Full Price. $52.00 – $62.00. Our Price. SOLD OUT. 44 Stars Share this event. Not yet rated….via Irvine Barclay Theatre The Screwtape Letters – Goldstar

Join us in our national “Letters From Home” campaign April 19th-May 18th where kids and adults will be writing letters to our deployed troops in attempt to break the Guinness Book of World Records for “most letters written to military … letters, please fill out this statement for every 50 letters! Guinness World Records Attempt Statement. Mailing Address: Team Kids 15375 Barranca Pkwy, E-103. Irvine CA, 92618. This entry was posted in Founders Blog on April 1, 2015 by Julie Hudash….via Letters From Home | Team Kids

(Associated Students of University of California Irvine (ASUCI)) Bans American Flag from 'Inclusive' Space(Associate student lobby space).” ….. Dan Rather would have smeared George Bush with a fake Naval reserve letter….via UC Irvine didn't ban the flag, but that may not be what you read …

 

 

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