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Font:ToyotaIQ

Two typographers ( Pierre & Damien / plmd.me ) and a pro race pilot (Stef van Campenhoudt)
collaborated to design a font with a car.
The car movements were tracked using a custom software, designed by interactive artist Zachary
Lieberman. ( openframeworks.cc ). Download the font here: nl.toyota.be/iqfont

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TypographyFundamentalsI

TheHistory,AnatomyandLanguageofType

MitchGoodwin
SchoolofCrea"veArts
JamesCookUniversity,Townsville,Q

Designcanbeart.Designcanbeaesthe"cs.Designissosimple,
that'swhyitissocomplicated.
PaulRand

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Crisis:DesignStudents
The graphic design industry has absorbed enormous changes in
recentdecades,mostnotablytheadventofcomputeraideddesign
prac"ces.
Produc"on studios and design rms which employ a small
bou"que team of crea"ves are now everywhere. The web their
siteofbusiness.TheloL,thegarage,thesharedocetheirsiteof
crea"vedreaming.TheirMacBooktheirswissarmyknifeofdesign
tools.
Thistechnologicallydrivenchangehasshrunkthehumanresources
needed to facilitate a clients brief and made what was once a
produc"on line of interdisciplinary prac"ce the territory of the
newmediamul"disciplinarian.
Inmanywaysthisisnotdrivenbyindustry,butbytheeduca"onal
system which is producing an ever more agile and mul"skilled
workforce.
Emergentformsofmediadesignandmo"ongraphicshavehelped
to aSract students to courses such as this which foster this
mul"faceted approach. Some"mes this is at the detriment of
disciplineswhichrequirespecialisa"on.

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Crisis:DesignStudents
Asaresultartanddesignschoolsareproducinggraduateswithawide
rangeofskillsandadiverseinterestinthefullgamutofmedia/graphic
design.
Alongtheway,proprietaryskillssuchastypedesignhavelosttheir
way.
There is considerable evidence that media designers are producing
content without the same exac"ng standards that they previously
oncedid.
Designers are now typographers. Scenic ar"sts are grappling with
usability issues. Videographers with colour correc"ng and
composi"ng.
With the aid of soLware and ever increasing computer power more
and more designers are turning their hand to what were once the
vanguardofhighlytrainedindividuals.
To that end, it is hoped that a subject such as this may serve two
func"ons: To turn you onto type and sa"sfy your desire to embed
newskillsintoyourworkow.

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HCI:TheHumanGesture

NM2402Typography

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HCI:TheHumanGesture
Before we step into a historical analysis of type and its
founda"ons in anatomy, architecture and calligraphy we
should take a moment to observe the condi"on of
contemporarycommunica"onbetweenhumankindandthe
technologicaldevice.
Whyisthissignicant?Istypeatechnology?Isthebooka
technology?
Ourrela"onshipwithtechnologicaldevicesisundergoinga
massive change and so to is the manner in which we
communicateandinteractwiththosedevices.

TYPE

This in turn eects the way we communicate with each


other, manage our "me, consume informa"on, enjoy
cultureandpar"cipateinfamilyandcommunityrituals.
Asmediadesignerswemustbealerttothesechangesand
be constantly ques"oning this rela"onship and how we
maypar"cipateinthisexchange.
RATE(2004)FoodChain(artnet.com)

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HCI:TheHumanGesture

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HCI:TheHumanGesture

Spielberg(Dreamworks,2002)MinorityReport,UIexcerpt

NM2402Typography

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HCI:TheHumanGesture

OblongIndustries(2008)GSpeak,productdemo
VentureBeatar"cle

MITLabs(2009)SixthSensedisplaysystem,TEDTalk
GearCravear"cle

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HCI:TheHumanGesture

MicrosoL(2010)ProjectNatal,productdemo

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Type:AsHumanGesture

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Type:AsHumanGesture
Wordsoriginatedasgesturesofthebody.

Theseweresigniersofourmostbasicunderstandingoflanguageandmoreimportantly,ourneed
tocommunicate,eec"vely,quicklyandovera(rela"vely)longdistance.

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Type:AsHumanGesture
IfwejumpaheadaliSle

The naming conven"ons of leSerforms use very human terms to dene their respec"ve
characteris"cs.
Itisthesenamingconven"onswhichhelpthetypedesignerdis"nguishbetweenfonttypes. Italso
preserves the very real link between human anatomy and the language of the printed text,
retrospec"velyandmovingforward.

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Type:AsHumanGesture
Thersttypefacesweredirectlymodelledonformsofcalligraphy

Just as symbolic human gestures mimicked words so to did calligraphy represent the sweep of the
humanhand,thestrokeandpressureofthequill.
As the wriSen word developed and authors designed their own visual style, language itself was
visualisedandmoreimportantly,throughtheactofwri"ngitselfrecorded.

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Type:AHistory

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Type:AHistory100AD
ThetypefacesthatweuseintheWesterncontexttodayarederivedfrom
Romaninscrip"onalfontsfromthe1stCenturyAD

TrajansColumn(106113)inRomeincludesoneofthenestexamplesof
these inscrip"ons which perfectly evokes the precision and strength of
earlyRomantype.

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Type:AHistory7401440
The Holy Roman Emperor Charlemagne (742814) who had
united western Europe during his rule was determined to
consolidatetheChris"anfaith.
Through educa"on and patronage of the arts he over saw
many projects which would bring eciency and perceived
economytoChris"anpopula"on.
This included the concept of standardisa"on a familiar
ploy of monarchs, religious rulers and governmental gure
headswhospowerextendsbeyondthenorm.
The concept of standardisa"on can be seen everywhere in
todayslatecapitalistmarket:
Webdesign(CSS,CMS);graphicdesignminimalism;HCI;le
formats; economic trade agreements; indigenous
interven"on,etc

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Type:AHistory7401440
CharlemagnewasconcernedthatadiversityofhandwriSenscript
styleshaddevelopedthroughoutEuropeandsorttorec"fythis.
HeluredarenownedscholarAlcuinofYorktobecometheMaster
of the Palace School at Aachen (in what is now Germany), where
CharlemagnesetupaScriptoriaattheRoyalcourt.
It was here between 782 and 796 that Alcuin developed the
Carolingian script, the standardised script for the en"re Roman
Empire.
This was the rst concerted eort to improve communica"on
across vast areas of land encompassing many groups of diverse
popula"ons.
Carolingian script was the rst example of technological
standardisa"on of informa"on exchange and human
communica"onsmethods.
Augus"neHomilies,ca.8501499

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Type:AHistory14401530
GuSenbergmodelledhisfamousbibleonthethickblacktypeofthehandcraLedtext,thisbecame
knownasBlackletter

TheseleSers(GuSenbergsprintontheleLandthemetaltypesetontheright)usheredinanewera
ofhumancommunica"onandgaverisetotechnologicalspeed.
InformaRonwasreproducible,fontsetswereinterchangeable,typewasmovable.

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Type:AHistory14401530
TheGuSenbergBibleincludedsettype
as well as delicate coloured hand
drawnourishes.

JohannesGutenberg'sBible,1454

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Type:AHistory14401530
The use of the ruler and compass became
cri"cal to the uniform and geometric
correctness of the font set aLer the
Renaissance. In 1525, Albrecht Drer
(Nrnberg, 14711528) used these
instruments to create his version of the
RomanCapitalstypeface.

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Type:AHistory14401530
Geofroy Tory (14801533), a French designer and humanist rejected this geometric automa"on
believinginsteadthatthedesignofaleSershouldperfectlyreectthehumanform.

AbouttheleSerAhewrote:thecrossstrokecoversthemansorganofgenera"on,tosignifythat
modestyandchas"tyare required,beforeallelse,inthosewhoseekacquaintancewithwellshaped
leSers.(Troy,Champeury1529)

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Type:AHistory16001700
The reign Louis XIV was the longest and the most
powerful in European history, spanning 73 years from
16421725.
Amongmanyofhisini"a"ves(Absolu"smbeingoneof
them), Louis XIV set up a commission to organise an
encyclopaedia of trades and professions this included
prin"ng.
The Bignon Commission set out to design new French
leDersthatwehaveendeavouredtorenderasagreeable
aspossibletotheeye.
ThismarkedtherstaSempttodecreeasymmetryand
precision of typographic style in the modern world of
prin"ng.
Thiswasbeyondchurch,anatomyorgeometry.Thiswas
theaesthe"csofabsolu"sm.

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Type:AHistory16001700
LouisSimonneau,wasthemodelleSerformdesignerfortheprin"ngpressownedbyLouisXIV,he
designedhistypeoveranemeshgrid.Thiswasdonebyengravingthedesignintocopperplate.

Simonneauwasunderstrictroyalinstruc"onasthistypewouldbecometheocialfontfortheroyal
familyandul"matelywouldneverbeonsoldtoanotherfamilyorgovernment.

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Type:AHistory16001700
From Simonneaus work a royal typeface
Roman du roi (The Kings Roman) was
produced from his engravings by Philippe
Grandjean.
This is regarded as the rst mathema"cally
deneddigitalfont.
A series of designers followed Simonneaus
templateundertheguidanceofGrandjeanto
produce21romananditalicisedfontsinthe
KingsRomanset.
The code for their construc"on was
published by the French royal family,
Mdailles sur les principaux vnements du
rgnedeLouisleGrand,1702.

Mdaillessurlesprincipauxvnementsdurgnede
LouisleGrand(1702)

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Type:AHistory17001900
WilliamCaslon(b.1693)wasanappren"ceengraver,bookbinderandtypepuncher.In1720hesetup
hisowntypefoundryinLondon.

Caslons typefaces were crisp, clean and upright which appear less like handwriSen script and more
modelledfortheirfunc"onasprintedtext.

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Type:AHistory17001900
Caslonwasthemostwidelyused
typefaceinthe18thcentury

Caslonwasextremelypopularinthe
Americasinwhichitwasusedasthe
typefacefortherstprintedversionof
theUSCons"tu"on.

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Type:AHistory17001900
John Baskerville (b. 1706) was an English type
founder, stone cuSer and printer who operated
outoftheindustrialcityofBirmingham,England.
He revolu"onised prin"ng by developing a new
formofpaperandadarkerinktotakeadvantage
ofhishighcontrasttypedesign.
Heac"velysorttosurpassCaslonstypedesignby
crea"ng sharply detailed leSers with more
contrastbetweenthickandthinelements.
Baskervilles work was derided by his
contemporaries as amateurish and extreme, his
typeface did not come into vogue un"l well aLer
hisdeathin1920.

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Type:AHistory17001900

Benjamin Franklin was a huge admirer of Baskervilles typeface and took it back to America where it
becamethestandardtypefaceforFederalgovernmentdepartmentsin1758.

ItisthoughtthatSirArthurConanDoyleborrowedhisnameforoneofhisSherlockHolmesstories,The
HoundofBaskervilles.

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Type:Anatomy&Language

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Type:Anatomy&Language

UPPERCASE

lowercase

InatypeseSersstudiothefontsoftypeandspacersarestoredindrawers,withthecapitalfonts
inadrawerabovethesmallersizedfonts.HencetheterminologyUppercaseandLowercase.

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Type:Anatomy&Language

sans Serif Serif

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Type:Anatomy&Language

Height:ASemptstostandardisethemeasurementoftypebeganinthelateEighteenthcentury.The
pointsystem,usedtomeasuretheheightofaleSeraswellasthedistancebetweenlines(leading)isthe
standardusedtoday.Onepointequals1/72inchor.35millimetres.Twelvepointsequalonepica,the
unitcommonlyusedtomeasurecolumnwidth.

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Type:Anatomy&Language

Width:AleSeralsohasahorizontalmeasurecalledasetwidth.ThesetwidthisthebodyoftheleSer
plusasliverofspacethatprotectsitfromotherleSers.ThewidthoftheleSerisintrinsictothe
propor"onofthetypeface.

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Type:Anatomy&Language

TheseleSersareallthesamepointsize,buttheyhavedierentxheights,lineweightsandpropor"ons.

Whentwotypefacesaresetinthesamepointsize,oneoLenlooksbiggerthantheother.Dierences
inxheight,lineweightandcharacterwidthaecttheleSersapparentscale.

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Type:Anatomy&Language

Note:9pointHelve"cawith12pointsoflinespacing=9/12Helve"ca
Size:ThedefaulttypesizeinmanysoLwareapplica"onsis12pts.Althoughthisgenerallycreates
readabletypeonscreendisplays12pttexttypeusuallylooksbigonaprintedpage.Sizesbetween9
and11aremorecommoninprintedtext.

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Type:References

Theprimarysourceforthemechanicsoftypewhichappearatthebackofthislecture:
Lupton,E2004,ThinkingWithType,PrincetonArchitecturalPress,NewYork
ThesesourceswerealsoconsultedinthepreparaRonofthislecture:
Samara,T2004,TypographyWorkbook,Rockport,Beverly,MassachuseSs
hSp://www.theoceof.org/historiesofgd2/index.php?/presenta"ons/jan28/
hSp://www.umail.ucsb.edu/~gegan/English%20236/BlackleSer_XML.html
hSp://ilovetypography.com/2008/03/21/extremetypeterminology/
hSp://www.alphabetandleSer.com/goudy/leSersgeneral.html

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