Thinking about typography...

What is a font?

A font is a graphical drawing of shapes of letters and symbols that make up a uni-

fied stylistic and compositional system, a set of symbols of certain size and shape.

Fonts make up the foundation of graphic design, but most people don’t know

anything.

The goal of this project is to aknowledge the people who create fonts.

This limited edition collection of t-shirt, introduced in a project is in tribute to

these people. The choice fell on six classic fonts, Garamond, Clarenden, Didot, Tra-

jan, Gill Sans and Futura. This leaves many more options to explore in the future.

Introduction

1

Collection

2 3

4 5 6

Designer

Foundry

Year

Country of origin

Category

Classification

Claude Garamond came to prominence in the 1540s, first for a Greek

typeface he was commissioned to create for the French king Francis I,

to be used in a series of books by Robert Estienne. The French court lat-

er adopted Garamond’s Roman types for their printing and the typeface

influenced type across France and Western Europe. Garamond probably

had seen Venetian old-style types from the printing shops of Aldus

Manutius. Garamond based much of his lowercase on the handwriting

of Angelo Vergecio, librarian to Francis I.

When Claude Garamond died in 1561, his punches and matrices were

sold to Christopher Plantin, in Antwerp, which enabled the Garamond

fonts to be used on many printers. This version became popular in Eu-

rope. The only complete set of the original Garamond dies and matrices

is at the Plantin-Moretus Museum, in Antwerp, Belgium.

Garamond

Claude Garamond/ Jean Jannon

—

Fifteenth and sixteenth century

France

Serif

Garalde

1

Designer

Foundry

Year

Country of origin

Category

Classification

Didot

Fermin Didot

House of Didot

1784

France

Serif

Didone

Didot is a name given to a group of typefaces named after the famous

French printing and type producing family. The classification is known

as modern, or Didone. The typeface we know today was based on a col-

lection of related types developed in the period 1784–1811. Firmin Didot

(1764–1836) cut the letters, and cast them as type in Paris.

The “Foundry Daylight” version of Didot was commissioned and used

by broadcast network CBS for many years alongside its famous “eye”

logo.Several revivals of the Didot faces have been made, most of them

for hot metal typesetting. Like Bodoni, early digital versions suffered

from a syndrome called “dazzle”–the hairline strokes in smaller point

sizes nearly disappearing in printing. Among the more successful

contemporary adaptations are the ones drawn by Adrian Frutiger

for the Linotype foundry, and by Jonathan Hoefler for H&FJ.

2

Designer

Foundry

Year

Country of origin

Category

Classification

Clarendon

Clarendon is an English slab-serif typeface that was created in England

by Robert Besley for the Fann Street Foundry in 1845. Due to its popu-

larity, Besley registered the typeface under Britain’s Ornamental

Designs Act of 1842. The patent expired three years later, and other

foundries were quick to copy it. Clarendon is considered the first

registered typeface, with the original matrices and punches remaining

at Stephenson Blake and later residing at the Type Museum, London.

They were marketed by Stephenson Blake as Consort.

It was named after the Clarendon Press in Oxford. Designs for wood

type were made from the mid 1840’s on. The typeface was reworked

by the Monotype foundry in 1935. It was also revised by Hermann

Eidenbenz and Edouard Hoffmann in 1953, Freeman Craw as Craw.

Robert Besley

Fann St. Foundry

1845

United Kingdom

Slab Serif

Egyptian

3

Designer

Foundry

Year

Country of origin

Category

Classification

The original design appeared in 1926 when Douglas Cleverdon opened

a bookshop in his home town of Bristol, where Eric Gill painted the fas-

cia over the window in sans-serif capitals that would later be known

as Gill Sans. In addition, Gill had sketched a design for Cleverdon,

intended as a guide for him to make future notices and announcements.

Gill Sans was later released in 1928 by Monotype Corporation.

Gill was a well established sculptor, graphic artist and type designer,

and the Gill Sans typeface takes inspiration from Edward Johnston’s

Johnston typeface for London Underground, which Gill had worked

on while apprenticed to Johnston. Eric Gill attempted to make the ulti-

mate legible sans-serif text face.

Eric Gill

Monotype Corporation

1927

United Kingdom

Sans Serif

Lineale Humanist

Gill Sans4

Designer

Foundry

Year

Country of origin

Category

Classification

In typography, Futura is a geometric sans-serif typeface designed

in 1927 by Paul Renner. It is based on geometric shapes that became

representative visual elements of the Bauhaus design style of 1919–

1933. Futura was commercially released in 1927.

Although Renner was not associated with the Bauhaus, he shared

many of its idioms and believed that a modern typeface should express

modern models, rather than be a revival of a previous design.

Futura has an appearance of efficiency and forwardness. The typeface

is derived from simple geometric forms and is based on strokes of near-

even weight, which are low in contrast. This is most visible in the al-

most perfectly round stroke of the o, which is nonetheless slightly

ovoid. In designing Futura, Renner avoided the decorative, eliminating

non-essential elements.

Paul Renner

Bauer

1927-1930

Germany

Sans Serif

Lineale Geometric

Futura5

Designer

Foundry

Year

Country of origin

Category

Classification

Trajan6

Carol Twombly

Adobe Type

1989

United States

Serif

Glyphic

Trajan is an old style serif typeface designed in 1989 by Carol Twombly

for Adobe. The design is based on the letterforms of capitalis monu-

mentalis or Roman square capitals, as used for the inscription at the

base of Trajan’s Column from which the typeface takes its name. Since

the inscription and its writing form manifests in only one case, Trajan

is an all-capitals typeface. Instead, small caps are commonly used, and

a more complete set of glyphs contained in Trajan Pro (a 2001 update of

the original typeface) includes a lower case of small caps.

Although Twombly was the first to do a very literal translation of the

Trajan inscription into type, a number of interpretations (with added

lowercase alphabets) predate Twombly’s, particularly Emil Rudolf

Weiss’ “Weiss” of 1926, Frederic Goudy’s 1930 “Goudy Trajan,” and

Warren Chappell’s “Trajanus” of 1939.

Logo

The logo of this limited edition collection of t-shirts is presented

by a typographic composition using letters in the above men-

tioned types: Garamond, Clarendon, Didot, Trajan, Futura, Gill

Sans.

This symbol should only be used in a black and white combina-

tion, like it is shown in the presentation.

Visual identity

100% cotton100% of soul and love100% made in Russia

DON’T FORGET TO READ ABOUT IT!

Country of origin

Category

Trajan

Designer Carol Twombly

Foundry Adobe Type

Year 1989

United States

Serif

Glyphic

Trajan is an old style serif typeface designed in 1989 by Carol T wombly for Adobe. The design is based on the lette rforms of capitalis monumentalis or Roman square capitals, as used for the inscription at the base of Trajan’s Column from which the typeface takes its name. Since the inscription and its writing form manifests in only one case, T rajan is an all-capitals typeface. Instead, small caps are commonly used, and a more complete set of glyphs contained in T rajan Pro (a 2001 update of the original typeface) includes a lower case of sm all caps.

Although Twombly was the first to do a ve ry literal translation of the Trajan inscription into type, a number of interpretations (with added lowercase alphabets) predate Twombly’s, par ticularly Emil Rudolf Weiss’ “Weiss” of 1926, Frederic Goudy’s 1930 “Goudy T rajan,” and Warren Chappell’s “Trajanus” of 1939.

A two-sided label with the logo on one side and information about the type on the other plus care instructions Two sides of the buisness card

Type’s FacesLimited edition collection of t-shirts

Art-directorKiladze Alexandertel: +7 926 2834235e-mail: 3e963e96@gmail.com

Identity to use

Store exterior

ContactsAlexander Kiladze

tel: +7 (926) 283 4235http://www.facebook.com/kroyooz