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AVENIRSTD


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STD

11PointLTSTD95BlackOblique

Imsuggestingthat

onedevelopsafeelnotmagically,orthrough

attendanceatthenestschools,butthrough

rigorousapplication,andthroughworkingdamnhardatacquiringaset

ofveryconcreteskills,thenforgettingthem.

AV

ENIR


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E

ditor/

D

esigner:

G

regThomas

Pu

blished:

20

09

GDES1314

Typography1

Te

xt:

El

liotteEarls

AVENIRS

TD


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12Pt.

12Pt.

12Pt.

12

Pt.

12P

t.

12 Pt.

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz123456789!@#$%^&*()




35 Light

45 Book Oblique

45 Book

35 Light Oblique


55 Roman

ABCDEFGHIJKLMNOPQRSTUVWXYZ

abcdefghijklmnopqrstuvwx

yz

123456789!@

#$%^&*()

55Oblique

1


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12Pt.

12Pt.

12Pt.

1

2Pt.

12Pt.

12 Pt.

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz

123456789!@#$%^&*()


123456789!@#$%^&*()

65 Medium Oblique

65 Medium

ABCDEFGHIJKLMNOPQ

RSTUVWXYZ

abcdefghijklmnopqrstuv

wxyz

123456789

!@#$%^&*()


123456789!@#$%^&*()



95BlackOblique

95 Black

85 Heavy Oblique

85 Heavy

2


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55Roman

65Medium

85Heavy

AAAA

100 pt.

100 pt.

100 pt.

100 pt.

35Light

!@#

$%

^&*()

54 Pt. 65 Medium

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X-Height X-Height

X-Height X-Height

X-Height X-Height

G VQ a

55Roman

35 Pt.

45Book

35Light

Helvetica

Regular

Garamond

Regular.

Mrs.Eaves

Roman

8

2Pt.

55 Roman

7

7Pt.

8

5Pt.

8

5Pt.

35 Pt.

4


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The bloom is off the rose.TYPE DESIGNhas lost its

urgency, and has regained itssoul.It seems as if there isalways one idea or mediumthat is

Everywhere you turn, there it is. In themid to late 90s, one of those ideas was

TYPE DESIGN.TYPE DESIGNwasviewed as the shortcut to graphic

design fame, and everybody wanteda piece of the action.Invariably, Iobliged the students and would

conduct a letterform design workshop.

85Heavy

35Light

Caps

56Pt.65Medium

85Heavy

Oblique

INESCAPA B L E .

65Medium

Ob

lique

95Black

21 Pt. /22

16 Pt. /20

5


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AS THE LETTER FORM PROGRESSESTHROUGH SUCCESSIVE STAGES OF

DEVELOPMENT AND REFINEMENT,T H E P R O C E S S B E C O M E SINCREASINGLY OP TICAL . W HENTHE IMPULSE OR THE IDEA FOR

A FONT SPRINGS PRIMARILY FROMO P T I C A L P H E N O M E N A , S U C HA S M A R K M A K I N G , D R A W I N G ,

HANDWRITING, OR MANIPULATIONOF FORMAL ELEMENTS, IT MAY BECONSIDERED TO HAVE SPRUNG

F R O M E X C L U S I V E LY F O R M A LEXTRAPOLATION. THE RESOLUTIONO F A F O N T, T H E S U C C E S S I V EDEVELOPMENT AND REFINEMENT,

IS ALWAYS AN OPTICAL ENDEAVOR.35 LightAll Caps

19 pt./22

6


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It is in traditional gure drawing studioclassesthat one learns how to lock themovement of the retina to themovement

of the hand. To be successful in thisprocess, one learnsthat the mind

must be quieted. The hand andretina must move insymbioticlock step as they both trace thephysical line. Its through thisprocess that one can learn totrust not the mind, but the

retina.

When one is giving birth toa font not spawned directly

from an existing model,what is needed most isthe establishment of a

biological discourse betweenlooking and drawing between retina and cortex.

45Book

9pt./12

45Book

14pt./15

7

h l fL f i l4 9


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The simple process ofmaking marks on paperis less of an intellectual

process than a biologicalprocess. One mustcultivate a feel for

proportion, solidity,balance, etc. Excuse the

digression, but when Italk about developing a

feel, I know that someof you are rolling your

eyes. Some of you maythink that the term feel

might be likened to theterm taste, with all of

its class overtones andattendant critiques. Well,back the f@*k up.

Music is the appropriatemetaphor. In music, rigorousstudyof repertoire, theory,

and physical application iswhat allows the musician theimprovisational freedom tomove the listener. Musicalinstrument performancerepresents the perfectsynthesis of theory and

practice. Theory is studyunderstood and nallyapplied. But the essence isthat theory

Letterforms are in large

measure governed

by social contract

and simple optical

principles, such as the

ones preached byour now debased and

debunked High Priest of

Visual Thinking, Rudolf

Arnheim. And while

there are obviously

far hipper and much

more contemporary

developments within

cognitive science and

perceptual psychology,

issues of balance,

harmony, scale, as well

as principles of gestalt,all have a bearing on the

function and legibility of

letterforms.

95BlackOblique

55Rom

an

9pt./11

45Book

11pt./13

85Heavy

9pt./12

8

(or thinking) is forgotten in the


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(or thinking) is forgotten in the

moment of performance. In

the visual arts, as in music,

it is important to follow a

developmental trajectory

that after diligent applicationultimately includes not so much

forgetting, as not paying active

attention to these principles.

But the essence is that theory

You must trust yourself, and

work by feel. Rely on the totality

of your experience. Rely onyour history to guide you. Think

through the body. Arrive on the

beautiful shores of naivete and

anti-mastery only after toiling in

the elds of MASTERY.

Typefaces are notconceptuaI tell themto study examples

such as Zuzana LickosMrs. Eaves, which is an

excellent example of an

historical revival; ChristianSchwartz Los Feliz, which

is an excellent example ofvernacular reinterpretation;

and Frank Hines Remedy,

which is based on pureformal extrapolation.

35 Light11 pt./14

35 Light9 pt./12

95Black

Ca

ps

95Black

Oblique

95Black

35Light

Oblique

The question I am mostoften asked by students

is some variation of thefollowing: Where do you

begin? How do you getan idea or a concept for a

typeface? My answer is

twofold. First, oneshould never use the

term concept in samesentence as the word

typeface.

95B

lack

Oblique

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But as they say, God(or the Devil, or possibly

both) is in the details.Quite possibly the

biggest challenge facing

type designers who arejust starting out is that

most cannot see, nor canthey draw ( I should

amend that slightly;most havent looked, norcan they draw.)

Students whobegin drawing typefaces

must rst learnto look

attypefaces.

How do you design

letterforms?

Focus on the serifs or

the termination of thecharacter.

Dont so much understand

how a letter is drawn:

experience how a letter is

drawn.

Then rene the letterforms

through successive

redrawing. Sit back,

evaluate them optically(with your retina). Then

draw them again.

65 Medium

12 pt./16

65 Medium11 pt./17

10

TO BORROW


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PROGRAM CAN TEACH

TO BORROWFROM OUR MUSICAL

METAPHOR AGAIN, ITSQUITE EASY

TO ROUGH OUT

A PLAN OF STUDYFOR THE GUITAR. ITS QUITEEASY FOR A GUITAR

TEACHERTO COMMUNICATE

TO A STUDENT THE TECHNICAL ASPECTS

OF ANY GIVEN

MUSICAL PASSAGE.BUT IT IS NUANCE ORTHAT SEPARATES THECHIMPS FROM THE APES.

AND NO GUITAR TEACHER

OR BOOK OR COMPUTER

24 Pt.

20 Pt.

20 Pt.

28 Pt.

30 Pt.

26 Pt.

20 Pt.

22 Pt.18 Pt.

14 Pt.

26 Pt.

30 Pt.

22 Pt.

16 Pt.

24 Pt.

20 Pt.

26 Pt.

85 Heavy

65 Medium

35 Light

45 Book

55 Roman

95 Black

11


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FEELThe gapbetween language and experiencebecomes a gaping hole as one begins to discussissues of craft.

The gapbetween language and experiencebecomes a gaping hole as one begins to discussissues of craft.

72Pt.35Light

11 Pt./12 55 Roman

11 Pt./12 55 Roman

feel.

feel.

feel.feel.

feel.

feel.feel.

feel.

feel.

feel.

feel.

feel.

35 Light and 45 Book

35 Light Oblique and 45 Book Olique

55 Roman and 65 Medium

55 Oblique and 65 Medium Oblique

85 Heavy and 95 Black

85 Heavy Oblique and 95 Black Oblique

24 Pt.

24 Pt.

24 Pt.

95Black

Oblique

95Bla

ck

Obliq

ue

12


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2-UpSaddleS

tich

HPColorLase

r55500

Designer/Editor:GregThom

as

Avenir STDText: Elliot Earls


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