Typography: Visual connections to art and architecture

Rochester Institute of Technology Rochester Institute of Technology

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Theses

5-1-1997

Typography: Visual connections to art and architecture through Typography: Visual connections to art and architecture through

the ages the ages

Andrea Haveman

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Rochester Institute of Technology

A Thesis Submitted to the Faculty of the College of

Imaging Arts and Sciences in Candidacy for the

degree of Master of Fine Arts

Typography:

Visual Connections

To Art and Architecture

Through The Ages

ByAndrea Haveman

May 1 997

Approvals

Chief Advisor: Deborah Beardslee

Date 2(0 JIUU 199f

Associate Advisor: Bruce Meader

Date

Associate Advisor: Heinz Klinkon

Department Chairperson: Mary Ann Begland

1/ Andrea Haveman , prefer to be contacted

each time a request for production is made. I can be reached at the

following address:

214 Andrews Streett Apt. 1D

Rochester, New York 14604or

3 1 1 West Sunset Court

Madison, Wisconsin 53705

Thank You

/ would like to thank Deborah Beardslee especially, for her advice,

encouragement, and time spent overseeing this project as my chief

advisor. I would also like to acknowledge the other members of my

committee, Professors Bruce Meader and Heinz Klinkon for their

assistance, advice and encouragement throughout this project.

Thank you to Professor R. Roger Remington for his knowledge of

graphic design.

I would also like to thank my new friends from the Graduate

Graphic Design program, whose creativity, positive spirit and work

ethic provided me with a motivating, and supportive environment

thoughout the program.

I would also like to thank my parents, Sally Haveman and Robert

Haveman whose love and guidance have always led me to pursue

my dreams. And to the rest of the Haveman and Wolfe families for

their love and support.

Table of Contents

Thesis Project Definition 2

Research and Analysis 1 4

Synthesis 1 7

Ideation 22

Evaluation 31

Implementation 34

Dissemination 35

Retrospective Evaluation 36

Conclusion 37

Glossary 40

Bibliography 42

Appendices 43

Thesis Project Definition

Imitation of Historical Styles

Preliminary Proposal

In the fall of 1996 another idea was explored for the thesis study

after reviewing a booklet about Bradbury Thompson and some of

his work. Of particular interest was a section on the importance of

understanding the history of type, particularly when integrating it

with historical imagery. He stressed that mere imitation of past styles

was both tedious for a designer and unoriginal for the audience.

This kind of imitation fails to contribute anything new and original

to graphic design. Without the understanding of historical idioms a

designer is forced to'parrot'

or imitate the styles of the past. By

understanding this historical information, a graphic designer could

convey a particular time in history in an original way. In addition,

it would free the designer from the task of accurate imitation and

allow a designer to contribute more of a personal style. So, as

a graphic designer's understanding of history develops, and

particularly the history of typography, producing design that imitates

past styles or design that inappropriately integrates type with

historical imagery is greatly reduced. This was the initial direction of

the thesis-providing graphic design students with a tool that would

provide useful historical information for combining type with

historical imagery.

By the end of the fall quarter, a preliminary proposal was written;

however, the final thesis topic would change quite a bit from this

original'pre'

proposal. As the thesis planning report began, theproposal was still very basic and lacked detail. Slowly, it started

becoming more defined as intentions were clarified accordingto comments received from various people. Based on feedback

received from Professor Remington and peers in the graduate

graphic design program, necessary details were added while

unnecessary or unclear concepts were removed from the thesis

statement.

Thesis Project Definition continued

Visual Diagram During the thesis planning, designing a visual representation of

the thesis topic was suggested by Professor Remington. This visual

representation was a diagram showing the specific thesis topic and

what it included. Creating this diagram was crucial. It was not until

going through the process of diagramming, that a direction became

evident. The diagram was a very effective tool for clarifying the

ideas for this thesis topic. Having to verbally articulate and explain

the diagram helped clarify the final thesis topic.

see appendix A for the Thesis Planning Report

see appendix 8 for the diagram

Type and Image Integration At this point, the idea of type and image integration was still the

main concept for the thesis project. After refining and clarifying the

concept, receiving feedback, and numerous revisions, the proposal

was finalized. This document was submitted to the chair of the

graphic design department, Mary Ann Begland.

see appendix C

Type History and Visual Arts History After some preliminary research and discussions with both professors

of graphic design, Roger Remington and Deborah Beardslee, the

topic evolved in a somewhat different, but related direction to the

submitted proposal. It seemed that, to understand this history in

a way that would be useful to design students, it would have to

include something about the visual arts of the times as well the

history of type. Therefore, in addition to the history of type, the

history of the visual arts became more important to the thesis topic.

The first question wasis there a visual relationship between type

and the various forms of visual art throughout history? The next

questionwasif type did relate to various art forms throughout

history, exactly how did they relate to each other? These questions

provided the basis for the final thesis concept. And because of

my BA in studio art, this final thesis topic had evolved into one of

personal significance.


The previous topic idea of how to integrate type and image

became less of a focus, but still would be covered indirectly with

this new concept. For example, the more information a student

learns about the visual relationships between type to various forms

of visual art through history (the new thesis topic), the more that

person will be able to use type in an informed manner. This

awareness would be reflected in their work with type and image

integration (the goal of the previous thesis topic).

Setting Parameters

Defining Terms

Eventually, there arose a question of what information to include and

what to exclude from this project. The potential for this thesis to be

too expansive was evident early in the research. Certain parameters

had to be set in place before a focused study could continue.

At this point, the thesis began as a comparison between the form of

type design and the forms of the visual arts through history. This was

too broad an area to cover for the thesis project. How could this

topic be contained without changing the study completely? In order

to compare forms of type to forms of visual art, the term'form'

had

to be defined and had to be used consistently for both subjects.

Different definitions for'form'

were explored. The best definition

for this study was from H. Gardner's, Art Through the Ages.

Form that of total organic structure, of a synthesis of all the elements

of that structure and of a manner in which these elements are

related and united to create its distinctive character.

For the purposes of this study, the definition of'form'

was applied to

type as follows:

Type form The synthesis of all the elements of the letters including physical

shapes, contours and proportions of the letterform shapes, and

the manner in which these elements are related and united to

create its distinctive character

The definition of form that will be used throughout this document will

be applied to the visual arts as well.

Visual art form The synthesis of all the elements of a particular work and of a

manner in which the elements within the work are related and

united to create its distinctive character.


In other words, what visual qualities separate the forms of letters or

of visual art of one period, from the forms observed of other periods

throughout history. Limiting the topic to include only the study of

physical forms throughout history was the first parameter determined

for this thesis project. This parameter would allow for a focused

study of the relationships of type and visual art through history.

Different definitions for 'visualart'

were explored as well, so that

perhaps it too could be simplified in some way. What exactly does

'visualart'

include? The definition used for 'visual throughout this

thesis project is from Helen Gardner's, Art Through the Ages.

Visual art The selective communication of human experience in tangible

forms existing as matter in space.

In order to simplify 'visual into a manageable subject for the

limited time of the thesis project, two disciplines were selected that

met the criteria of the definition of 'visual art'. The two disciplines

were architecture and painting. Limiting the thesis to these two

disciplines was the second parameter of the project. The reason

for the selection of these two disciplines as opposed to sculpture,

woodcarvings or other forms of two or three dimensional visual art

forms, was that architecture and painting offered the richest and

most representative examples for comparison. In addition, both of

these disciplines appeared consistently throughout history, while

other forms such as woodcarvings or engraving may have been

more popular during specific time periods.

Selecting Historical Periods A third necessary parameter was to determine which periods

from history to include. The Gothic period appeared to be an

appropriate starting place. Although the Gothic lettering is a hand-

generated form of calligraphy and not the mechanically-generated,

mass-produced typography, it was an appropriate introduction to the

printed word. It was Gothic lettering called"textura"

that was used

as a model byjohann Gutenberg in 1450 when he invented

movable metal type. Depending on the source, the breakdown

of art history is usually divided as follows: Medieval or Gothic,

Renaissance, Baroque and Rococo, and Modern.


Some of the fine art references included Baroque and Rococo

periods into the Renaissance era, and added the Neoclassic

period as a division to the Modern era. The periods were chosen

according to the organization of information found in the references

on art history. This was because these terms were more common

than the terminology used for the categorization of type. The

following is the list of the periods to be researched:

Gothic

Renaissance

Baroque

Neoclassic

Modern

Visual Arts Limited to Painting Another questionwascould painting be expanded to include other

forms of two dimensional pictorial expression such as woodcuts,

lithographic prints, stained glass, or textiles? It made sense that, to

give the project continuity, it should be limited to painting only

unless an exception could be justified. The one exception was for

the Gothic period. Stained glass was used in place of painting

because it was so popular during the period that it has been

considered the hallmark of the entire period. In effect, stained

glass was more representative of the Gothic style than painting.

Establishing Visual Variables for Comparisons Next, a consistent method for comparison of the five periods was

needed. Many descriptive terms were used in the research materials

of the three disciplines. For example, descriptive words such as

direction, geometry, movement, and direction, were all adjectives

used in describing typefaces, as well as architecture, and painting.

Any descriptive terms that were used frequently to describe type,

architecture, and painting, were recorded. For example, one of the

first findings was the quality of extreme verticality found in the letters

during the Gothic era. Upon further research, it was clear that this

characteristic was apparent in architecture and painting as well.

The visual comparisons for this thesis project were conducted based

on these six words:

Geometry

Complexity

Directionality

Symmetry

Rhythm

Contrast


Selecting Visual Examples The last parameter involved choosing specific visual examples to

show the forms of the three disciplines (type, architecture, and

painting) for each period. The choice of images to use was based

on which images best represented the style of each period.

For the purposes of this thesis, the definition of'style'

is:

Style a development, a coherent grouping of forms united by a

reciprocal fitness.

These examples should also clearly illustrate conclusions about the

visual connections between the three disciplines. The following are

some of the final images considered for the guidebook. The process

by which each actual example was chosen will be discussed in the

Synthesis section of this document.


Visual Examples of Type

Gothic

1 200: Textura

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Renaissance

1470: Nicolas Jenson

Jenson

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Baroque and Rococo

1734: William Caslon

Caslon

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Visual Examples of Type

Neoclassic('modern'

type) abcdefghijklmilO1884.GiambattistaBodoni

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Modern (sans serif type) ObcdefqHi i jH 17111000TS1 927-30: Paul Renner

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Visual Examples ofArchitecture

Gothic

1434:

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Renaissance

(I) 1567: Andrea Palladio

Villa Rotunda

(r) 1420-36:

Filippo Brunelleschi

Florence Cathedral

Baroque

(I) 1638-67:

Francesco Borromini

Carlo alle Quattro Fontane

(r) 1656-75:

Carlo Rainaldi

Santa Maria in Campitelli

10


Visual Examples ofArchitecture

Neoclassic

1 8 1 6-26: Thomas Jefferson

State Capitol,

Richmond, Virginia

1 852: James Rewick

Smithsonian Institution,

Washington, D.C.

Modern

1926: Walter Gropius

Bauhaus,

Dessau, Germany

1956: Mies van der Rohe

Illinois Institute of Technology,

Chicago, Illinois


Visual Examples of Painting

Gothic

1190

Reims Cathedral

The Crucifiction

Renaissance

1495-7

Leonardo Da Vinci

The Last SupperW W%

Baroque

1617

Peter Paul Rubens

The Rape of the Daughters

of Leucippus

1635-6

Peter Paul Rubens

Village Carnival

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12


Visual Examples of Painting

Neoclassic

1784

Jacques Louis David

Oath of Horati

1884-6

George Seurat

Sunday Afternoon on

Grande Jatte Island

Modern

(I) 1931: PietMondrian

Composition in Red,

Yellow, and Blue

(r) 1921-5: PietMondrian

Diamond Painting in Red,

Yellow and Blue

13

Research and Analysis

Beginning: Broad Overview

Recording Information Chronologically

The research began as a broad overview of the topic in the middle

of December. At this early stage, the parameters discussed in the

previous section had not been established. The topic still included

the overall visual comparisons between type and the visual arts.

These were the two broad topics researched at this stage:

type through history

visual art through history

By the end of January, the research had to be contained to include

the study of the three disciplines according to the parameters

defined in the previous section. This included the study of:

Forms of Type through history

Forms of Architecture through history

Forms of Painting through history

At the beginning of the research, the best method of organization

had not been determined, so the research method adopted was to

record information chronologically. This method was chosen simplybecause it was in accordance with a majority of the research

materials which were also organized chronologically. Notes were

recorded for each of the five periods in history.

The amount of information being gathered soon demanded a

form of organization. A method of organization described in

Richard Saul Wurman's Information Anxiety called 'The Five Ultimate

HatRacks'

was adopted. In this book, Wurman describes five

methods of organization: category, time, alphabet, location,and

continuum. The first method of organization used for this thesis

project was time. Time seemed to be the most direct method to

organize the information and, as mentioned above, was already in

use. The information gathered was distributed into the five periods in

history. The breakdown of historical periods was attained from

several sources on art history.

14

Research and Analysis continued

Classification Groups Depending on the source, type is classified as follows: Black Letter,

Old Style, Transitional, Modern, and Sans Serif. In order to bring

the three disciplines into one method of organization, the

chronological breakdown described for art history was used. The

reason for this choice was that the terminology used for describing

periods in art history are more familiar to non-designers and people

with no prior knowledge of type history.

The classifications of type related to the six periods as follows:

Art HistoryGothic

Renaissance

Baroque

Neoclassic

Modern

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Type History

Gothic

Old Style

Transitional

Modern

Sans Serif

This method of organization worked well with one exception. One

problem was that what is considered to be Modern type, came a

century before what is considered Modern art. This important

disparity was noted carefully and was clarified and discussed again

in the guidebook application.

Categorization Soon, another method was required to record specific information

common to the three disciplines. Another method described byWurman was use-Categorization. The six descriptive words

chosen were:

geometry

complexity

directionality

symmetry

rhythm

contrast

After these two methods of organization were established, a matrix

was designed. A matrix would offer a direct method to cross

reference the information gathered, and would facilitate analysis

of this information.

Research and Analysis continued

Image Gathering The process of image gathering was approached in the same way

as the rest of the research. The two methods of organization

described by Wurman were used: time and category. Examples

of type, architecture and painting were collected that possessed

some of the visual qualities of the descriptive categories-geometric,

complexity, directionality, symmetry, rhythm, and contrast. As each

period was studied, several images were reviewed and analyzed

and filed according to the five periods in history. One example of

type, architecture, and painting was selected for each period. The

selection was made based on how well it represented the particular

period, and how well it demonstrated the connections to the other

disciplines from that period. Each image was then interpreted in

relation to the list of visual characteristics. Different quotations from

the research materials were recorded into the appropriate boxes on

each matrix for each example chosen.

See appendix D

Synthesis

There were many relationships found between the visual

characteristics of type through history and those of architecture

and painting.The following shows a list of the images chosen and

an explanation for their selection.

Gothic

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Type form-Textura

Textura was chosen because it was the most widely used script

during the Gothic period. It possesses qualities that related to both

the architecture and painting of the period such as verticality, and a

'pointedarch'

appearance resulting from its square serifs.

Architectural form-St. Mclou

This cathedral was chosen because it exemplifies the architecture of

the Gothic period. The two main qualities that are directly related to

type are the pointed arch and the extremely exaggerated verticality

of the church.

Painting form-The Crucifiction

The example chosen to represent two dimensional visual art for the

Gothic period was a stained glass window. This was the only

exception made in the guidebook. All other examples are paintings.

In this case, the exception was made because the visual connection

between the windows and letterforms of this period were so strong.

The intricate leading of these windows created a skeletal pattern

that were similar to the woven texture of the Gothic letterforms.

17

Synthesis continued

Renaissance

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Type form Jenson

Jenson was selected because it has noticeably wider

letterforms. It represented the movement away from

verticality that was the importantdistinction from the

Gothic sense of verticality. Jenson's letters show a careful

consideration given to the shapes of the letters themselves,

as well as the space around them.

Architectural form Dome of Florence Cathedral

This example was chosen because it represents the

Renaissance concern for clarity and order. This cathedral

was constructed with pilasters, entablature and moldings

that establish a network for a rationally ordered and

geometric interior space. The exterior was also constructed

carefully, using the cube and dome and a strict proportion

of 1 to 2 throughout.

Painting form The Last Supper

This painting was selected because its structure and

geometric order are clear. This painting is the ultimate

example of the concern during this period for

mathematically accurate form. This painting also

demonstrates a careful consideration of the relationship

of interior spaces. The long table is set parallel to the

picture plane with the Christ figure centered and framed

by the central window. His figure is the focal point of all

lines in the composition, adding to the highly ordered

organization of the painting

Synthesis continued

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Baroque/Rococo

7ype form Caslon

Caslon was chosen for the Baroque era as a contrast to what was

happening in both architectural and painting styles of that period.

The increased contrast between the thick and thin strokes of Caslon

gave it a heavier texture. This was contrary to the delicate forms

seen in architecture and painting of the day. Despite its heavyappearance, Caslon was used more regularly than all other

typefaces, including being the chosen typeface for the Declaration

of Independence.

Architectural form St. Carlo alle Quattro Fontane

This church was chosen to represent the architecture of the Baroque

era. It exemplifies the complexities achieved during the period. The

architect, Francesco Borromini manipulates convex and concave

surfaces, making it difficult to distinguish the two surfaces. In

addition to these elastic surfaces, the ornamental detail adds

to its highly complex appearance.

Painting form Rape of the Daughters of Leucippus

This painting was chosen because it demonstrates the extreme

contrast indicative of the Baroque style. In particular, the soft flesh of

the women, the darker and muscular flesh of the men, the shiny satin

cloth, metal armor, and the taut skin of the horses creates strongcontrasts of textures. Its dynamic relationships, and intricate detail

also add to the complexity of the painting overall.

Synthesis continued

Neoclassic

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Type form Bodoni

This'modern'

face was chosen because of its clean, simple

appearance, achieved by constructing his letters using

interchangeable parts. This simplicity was representative of

the neoclassic rejection of intricate and complex Baroque style.

Architectural form State Capital

This example was chosen for the contrast evident in its tall pilasters

(columns) and the clean crisp lines of its exterior. It also represents a

shift to simplified and mathematical form.

Painting form Oath ofHorati

This painting was chosen because it also shows great contrast. The

sharp contrast in the folds of the clothing, and the sharp lines show

a precision and simplicity of form indicative of this period.

20

Synthesis continued

Modem

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Type form Futura

Futura was chosen because it possesses many of the qualitiesthat

were representative of the Modern era. It is stripped of unessential

elements, and reduces the alphabet to basic elementary shapes.

Architectural form Bauhaus

The Bauhaus building was chosen to represent the architecture of

the modern era because it too reduces form to basic shapes. The

architect, Walter Gropius was concerned with designing

architecture that was clear, and constructed of cubic units. These

units functioned only as part of the greater whole.

Painting form Composition in Red, Yellow, and Blue

This painting by Piet Mondrian was chosen because, like the type

and architecture of this era, it too was reduced to an extremely

limited vocabulary. It included only the use of straight lines, and

reduced all shapes to squares and rectangles. In addition, only

black, white, and the primary colors-red, yellow, and blue

were used.

21

Ideation

Reference Tool for Students The concept for the guidebook was to create a reference tool for

students. Audience was an important consideration. A more distilled

version of the intricate details of type, architecture and painting was

more appropriate for providing students with a broad overview. This

satisfied the project's time limitation and would not be intimidating to

the newcomer.

Since the purpose of the guidebook was to provide information

on similar visual forms of type, architecture, and painting through

history, the visual examples had to be easily comparable. This made

the layout of the book extremely important. Different layouts were

explored in order to arrive at the most effective layout.

The sketch below shows the first idea for an effective format for the

guidebook. This layout permitted the viewer to see an example of

all three disciplines on one spread. However, the plan was not

adequate because the images were too small to recognize detail.

Being able to see detail was necessary in order for comparisons to

be clear and meaningful to the viewer.

Guidebook sketch

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22

Ideation continued

This next idea provided larger visual examples for comparison.

The three disciplines could be easily compared in this particular

spread. However, the layout did not provide enough space for

periods with vertical and horizontal images. As you can see from

the spread below, only two horizontal or two vertical images could

be placed on the right-hand page.

Guidebook sketch 2

The Baroque Era 1600-1750

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abcdefghijklmnopqrstuvwx

abcdefgbijklmnopqrstwvwxyz &

pv* the period gnfcyilt.

Mof th* dynamic and tifnlocxnt period]

in th* hinry ofw*u*m euhur*.

T..l|lfl. I-Hr.fl !. 'pB* i^rB -1""<

.The Kenan Baroque

and chenfe,of Hi

between die para of th* bviUnfin chane-

urinkAt It) b*tt th* Roman Baroque buldlRi

b comparable to that ofa fufv*.anotherof

th* fnatBaroque art formLEach b an orcan-

reveab to**ai a rightly In

Baroque palnMnf. Th* development of the

Baroque paJndryj In taly b more compUcauddan that of architecture

.Oiierinjpoint) of

view appeared at the barreling of the century.and theie wan never fut> reconciled.The two

annta who did mast to mabfch then trendi

wen Caraa(gio and CancelHowever,both

poueued th* deiiro to undentand realty not

In term* ofa rational"b*a"

of th* but rather

by artful obiemtJon of the natural world

The concept of enlarging a portion of an image was explored in

this third sketch. For example, the three boxes on the right-hand

page are details taken from the larger images. This idea remained a

possibility, while still others were explored.

Guidebook sketch 3

tUSiU

GoU.lt palntln f. Th* deweJopmant of th*

Baroque painting In Idly b more compHcitrd than

that of archlecture.Differing points ofview

appeared It the beginning of the century, ami cheie

were nm-w Uity reconciled Tin two inho who

dM moit to ntablnh the trendi war*

Canvaggio and CarraccL However, both poueued

th* dalre to uraJantand reality noth tarmi of

rationalTdt"

of the but rathar by carefulobier-

tatJon of the natural world.

23

Ideation continued

Benefits of New Layout Design In Guidebook sketch 4 (following page), two main criteria were

considered based on discoveries made from the first three sketches.

First, the visual examples should be large enough to see details

clearly. Second, the grid ultimately had to accommodate large

images that were both horizontal and vertical in orientation.

Guidebook sketch 4 meets both of these requirements. In this sketch,

more space is created by adding two shortened pages. There are

two benefits to this layout. The first is that when these shortened

pages lay flat, the visual comparisons can be made easily by the

viewer from page to page. In fact, the idea of showing a detail

from a larger image was taken from the previous Guidebook sketch

3. The second benefit is that this layout could accommodate large

images of both horizontal and vertical orientation. The large images

would be revealed as the viewer turned these shortened pages.

System of Shortened Pages The text on one of these shortened pages would describe the visual

connections to the other two disciplines. For example, the shortened

page describing Gothic script would also include a description of

how its form relates visually to Gothic architecture and painting. The

enlarged detail at the bottom of these pages would illustrate the

points being discussed. The diagram below shows how the concept

of shortened pages works.

24

Ideation continued

Guidebook sketch 4

GothicTypography. Texturawa the

dominant lettering iiyle of the gothlcperiodCnhcr termi auch at th* franch ktnr de

fame and the Engbh blocUeaci and Old

Engfahjre vague and mbleduigJDurin( ID

Ume.textura was called Wero modemo.which li

latin lor -modem kna-lnf.Thisityle wai qufte

functkwaUor all the vertical nrokm In i word

are drawn Art (.then the scribewould add the

terlfi and other strokes needed to transform

the group ofvertlcab Into a wortLRoundod

strokes an almost elknlnatwtand the letten

and the space) between them an condetuad

In an effort to ime jpwo on the predoui

parchmancTha owrall aHect b on* of a dame

black taatttlre.Rotundawai the tallanste

vento* of the textura.The letter) became

rounded,and did not end In rectangle).

)DnlmiWttDittri,IKttttulittin

Uiu.J&biliffifraqiuhuutuituuo

iflttat inuaUt raphantLlEtui

mi

Gothic architecture. The Roman Baroque

architect) toujhtoftan with great Ingenuity ano

itibtlecy, to supply the spectator with a rich

variety of iefuatlcau_Suggstloni of movement

and change,ol a fluid or organic relationthlp

between the parti of the buldaig arecharacteristic_At\a belt the Roman Baroque

building b comparable to that of a fugue.another of the great Baroque art lorms.Each a

an otganbm ofgreat complexity which In the

end reveals Kieff a a tightly integrated

Gothic painting. The davekfHnant of the

Baroque pintta ki Itar/ b mora complicatedthan that ol arrhltoctuie.Dlfferirn; point, of

view appeared it the beginning of th* century.and thrae were never fully recont.-lleti.Tht> twoartist* who didmat to tatablbn the-* utskU

were Caravagglo and CuraccLHowever, both

pouataed the desire to understand reality not

In fc-rmi of a rational"idea"

of the hut rather

by cardul obiervKloti of the natural world.

Ideation continued

Final Adjustments In Guidebook sketch 5, the final adjustments were made to the

layout for this visual comparison section of the guidebook. More

continuity was added to this layout in comparison to Guidebook

sketch 4. This was achieved by aligning the text on the three

layered pages. The comparison section on the left page was refined

to relate more to the rest of the book by keeping the large heading'Comparisons'

oriented horizontally. This heading was vertical in

Guidebook sketch 4. In addition, the box labeled'Comparisons'

on

the left-hand page of the spread was adjusted to relate in size to the

shortest of the layered pages on the right side of the spread.

26

Ideation continued

Guidebook sketch 5

H* DHUe[tatMM* cabal | can 1 19 I

_aMokabrraatai1rw*j

strata-abb rl idbUpaiTajtartirittnrraptolMatapenyiaamjaTl of lea**.

ntkakla*aiapaaeB riireaasra fa

asMftfttla. I rtjaejej,

tot*" tataa* ftfflttllanlkT

lattnaaiiejgtBltMalaailalaM^

rtssssasrihrfaeaM aflat ieW>it-ie1i<a||.Miaaj||

âteaîM^faaaa^trp**

ifagatwfractalajijejlwtmmm*l*

MaiaMfcw**n*Mri*>aakagr.

f .* im1. ultJe, n, .,bjji,BTIH IfM aaa-aj t.aal Ht flMtf earth

27

Ideation continued

The concept of Cover I was to show a simple combination of the

logo designed in the planning stages of the thesis project and a the

grid (represented by the four squares) used for the guidebook. This

design could not be used because the title changed since the logo

was designed.

Cover 1

28

Ideation continued

The concept of Cover 2 was to simultaneously show examples of

type, architecture, and painting. The goal was for the reader to

immediately see these three elements interacting together. This would

provide a context for the reader upon first viewing of the book. This

cover was unclear, so other options were explored.

Cover 2 (front and back)

The concept of Cover 3 (following page) is similar to the previous

idea, however the three examples (type, architecture, and painting)

are all from the Modern era. The difficulty with this cover is that the

element of type is seen as a texture rather than as the most

important element in the book. This could cause a viewer to

misinterpret the objective of the guidebook.

The concept of Cover 4 uses the same concept of the

integration of imagery from the three disciplines. The letters'HIJK'

are scaled to relate structurally to the structure of the architecture.

Also, the angle in the letter'K'

relates to the angle of the diamond-

shaped painting by Mondrian. While an attempt was made to

emphasize the concept of type by enlarging the 'HIJK', it is still

less noticeable than the painting image.

29

Ideatlion continued

Cover 3

Cover 4

30

Evaluation

Committee Response The initial evaluation process began early on in the project

development with weekly meetings with Professor Deborah

Beardslee, as well as four full committee meetings during which the

work in progress was evaluated by Professors Deborah Beardslee,

Bruce Meader, and Heinz Klinkon. Later, as revisions were made on

the guidebook application, several colleagues offered informal

evaluations of the guidebook. These evaluations were extremely

helpful in the development of more specific content and effective

design solutions. The evaluation conducted after the -first full color

copy of the guidebook, was the first feedback received from the

target audience (graphic design students).

Evaluation Form To facilitate the evaluation process, an evaluation form was drafted,instead of questioning students verbally. The form was intended to

evaluate all the different components of the guidebook. This

included: the content of the book, the comparative matrix, the

timeline, the book cover, image use, color use, and the overall

design of the book. The first draft consisted of twelve sentences that

evaluators were asked to complete by circling a response on a

scale that was provided. For example:

1 I understand the concept of this guidebook completely- Not at all

This first draft was changed slightly by giving the evaluator a scale

that had specific choices. It was noted by Bruce Meader at a

committee meeting that without this, it would be extremely difficult

to assess the responses. For example, how could it be determined

what was meant by a mark like the one below that was not

'completely'

or 'not atall'

and not directly in the center of the

two choices.

completely-ese:

^ j^ N0talall

The scale was changed in order to provide specific choices for

the evaluator. The scales on the final evaluation form looked like the

one below.

completely Not at all

31

Evaluation continued

Participant Profile Most of these evaluation forms were given to the target audience. In

all, twenty-two evaluation forms were completed.

1 expert of graphic design

2 graduate graphic design student

6 senior graphic design students

5 junior graphic design students

2 sophomore graphic design student

0 freshman graphic design student

6 person with no experience in graphic design

22

Evaluation Feedback

see appendix E

The conclusions drawn from these evaluation forms were that 1 ), a

majority of the participants of the evaluation understood the purpose

of the book and felt it is useful and interesting, and 2) the great

majority felt that the guidebook provided a sufficient amount

of information on the topic.

The area evaluators identified as needing clarification was the

cover. Many said they could not see the type imagery clearlyenough. A possible solution to the unclear cover might be to make

the relationship between the three disciplines stronger. As the cover

is now, the element of type is very understated. This is a flaw in the

design concept that needs to be reconsidered. It is especially

important because this book is intended to emphasize type form

and its history. This concept should be evident in the cover, so the

viewer knows immediately that this is a book primarily having to do

with type. Some people commented that they did not see the type

at first. The Mondrian painting dominates the cover and the

architecture is most likely seen next. Changing the emphasis here

so that the viewer is first aware of the type in the composition is

a necessary change.

Need forMore Entries Another comment made was that the timelines needed more

information. To correct this, more entries will be included in

these sections in the final guidebook application. In particular, the

Neoclassic and the Modern sections need additional entries. The

following page shows the final evaluation form.

32

a I have no experience in graphic design

b I am a graphic design freshman sophomore junior senior graduate expert

(Circle a or b) (circle one)

1 I understand the purpose of this bookcompletely , T t

- -not at ail

2 In general, this topic is.

3 To me, this topic is

'useful

useful

interesting

agree4 I could learn about typography from this book

5 The information that the book provides issufficient

6 The organization of the book is.

7 The matrix is.

8 The timeline is.

9 The cover is.

10 The images are.

11 The colors for the different sections are.

clear

clear

helpful

interesting

clear

helpful

interesting

clear

interesting

helpful

interesting

appropriate

attractive

helpful

12 The overall design of the book is interesting

clear

Please add any additional commentsin the space below

_

- not useful

not useful

boring

- disagree

insufficient

a> unclear

> confusing

'

not helpful

boring

confusing

not helpful

boring

- unclear

_ boring

not helpful

_ boring

inappropriate

unattractive

^ not helpful

boring

_) unclear

33

Implementation

Changes Made

Col'or

Page Numbers

Cover

Content

After conducting the evaluation and assessing the responses, the

following changes were made:

First, the yellow-green color seen throughout the guidebook was

adjusted. Several comments were made that the color was

distracting. To subdue this color, a darker, less yellow green was

used. The resulting color is more in tune with the rest of the color

pallet.

Second, page numbers were added to the contents page. This will

make the different sections easier to locate.

Third, several adjustments were made to the guidebook cover,

including added emphasis on the type imagery. Small circles were

added to the letter'K'

to symbolize its geometric construction. The

diamond shaped painting by Mondrian was made more transparent

so that it receded further into the background. These changes were

made in order to place more emphasis on the concept of type.

Besides these changes, refinements were necessary in the body text

of the guidebook. Adjustments were made to some of the text

alignments and corrections were made. Several entries were added

to the timelines and further descriptions were added to various

sections throughout the book.

see appendix F

34

Dissemination

Thesis Gallery Show

Library Archives

The guidebook was displayed for two weeks in the Bevier Galleryat Rochester Institute of Technology. Here, the guidebook was

available for review. This exhibit ran from April 28 until May 24.

The display of the thesis project also included three large format

panels explaining this thesis project and representative components

of the guidebook. There was one panel dedicated to summarizing

the purpose and goals of the guidebook.

Further plans for dissemination include making a copy of this thesis

document available in the Wallace Memorial Library archives. All

RIT students have access to these archives.

Instructional Guide

Studio Resource

Another possible method of dissemination would be to assemble a

booklet comprised of the images contained in the guidebook along

with brief summaries and conclusions concerning the visual

connections between type form, architectural form, and painting

forms through each of the five historical periods. Ideally, this

instructional guide would be given to students and could be an

introduction to courses concerned with typography. Specifically, the

packet could be given to graduate students enrolled in the design

history course, as well as the typography course here at RIT.

Unfortunately, full-color reproductions of the guidebook are notcost-

effective, so only a limited number of copies will be printed. For the

last method of dissemination, a copy of the guidebook could be

made available as a reference tool for students in the graduate

graphic design studio. It would be made available to any graduate

student interested in this topic.

35

Retrospective Evaluation

Color Accuracy

Project Scheduling

Production Costs

In retrospect, the guidebook could have been improved in several

ways.

A relationship with a good printer should have been established

earlier in the process. The printing of the guidebook application was

scheduled in time for one printing to be made. This did not allow

for any margin of error. Unfortunately, this led to some flaws in the

version of the book displayed in the thesis show. The most critical

production problem was accurate color reproduction. Final color

output did not match intended color choices. Many of the colors

were faded, while the most important color (the yellow- green seen

in the title and in several locations throughout the book) appeared

as a dull, yellowish color. Although several color tests were made,

ultimately, a printer was used whose color settings were different. By

choosing the printing company ahead of time, several color tests

could have been made to prevent this.

The most important change would have been scheduling the project

earlier. The thesis topic selection should have been completed bythe start of the academic school year, and was not decided upon

until the middle of winter quarter. If the topic for the thesis had been

chosen earlier, it would have allowed more time for research and

analysis, as well as for the actual design of the book.

The cost of printing the guidebook in full-color was enormous.

Perhaps the amount of color could have been limited

to only the comparison sections (with shortened pages). Limiting the

color use to a few specific pages would have lowered the cost of

this project significantly.

36

Conclusion

The conclusions drawn here for each period have been assembled

from an analysis of the information recorded in the comparative

matrix. Two or three of the most important descriptive words from the

list of six, are listed. The paragraph below the list explains why

these words were selected.

Gothic

complexity (complex)

directionality (vertical)

The visual comparisons of letterforms to the architecture duringGothic times is clear. The verticality is the most outstanding similarity

between the three disciplines. The complete shift from rounded

forms to their virtual elimination resulted in the pointed arches in

architecture and the square serifs of textura. The intricate design

of the gothic windows was much like the intricate woven texture

created by the strong verticals and pointed serifs of the gothic script.

Renaissance

geometric

direction (horizontal)

rhythm (regular)

The emphasis during this period was on highly rational and

scientific thought based on the individual. The art from many

ancient civilizations was studied during the Renaissance. This led to

the return of life-like representation and proportions of human form

that the humanists observed in art forms of the ancient civilizations of

Greece and Rome. In addition, the invention of the printed word

was one of the most important of this period, and made books more

widely available. During the Rennaissance, there began a

movement away from the extreme verticality of the Gothic period.

This new horizontality is evident throughout the visual arts during this

time. In Jenson s typeface, this new horizontality was achieved by

creating proportionally wider letter forms. In addition, the typeface

possesses an extreme clarity and intellectual order common to both

architecture and painting of the day. The new proportion of Jenson's

typeface link it to the highly rational and scientific visual art that had

become centered around the proportion of the human form.

37

Conclusion continued

Baroque/Rococo

complexity (complex)contrast

Neoclassic

complexity (simple)contrast

The typography of this period echoed many of the qualities seen in

both architecture and painting. The Baroque and Rococo styles

consisted of delicate C and S curves. Many of the forms were

derived from nature. Typefaces designed during this time possessed

qualities parallel to the intricate style of the visual arts. For example,

the typeface called Romain du Roi echoed the light and delicate

feel that was indicative of the Baroque period. One typeface stood

out from the rest. Caslon Old Style was in direct opposition to the

fashion of the day. Contrary to the asymmetrically balanced and

complex forms seen in architecture and painting, Caslon Old Style

possesses a feeling of symmetry. The increased contrast between the

thick and thin strokes of Caslon gives it a heavier texture than was

common at the time. But despite its heavy appearance, Caslon wasused more than all other typefaces of the day. In fact, Caslon was

used for the writing of the Declaration of Independence.

Contrast is an important characteristic present during this period.

The return to classics and rationalist thought meant a turn against

the intricacies and decadence of the Baroque period. A new

mathematical approach was taken, with little or no decoration. The'classic'

or'modern'

face is characterized by abrupt and fine serifs,

a new lighter weight, a marked contrast between the 'thicks and

thins', and narrowness of body. The Bodoni typeface possesses

contrasting features similar to the contrast evident in the tall pilasters

(columns), and the clean crisp lines of neoclassic architecture.

Contrast is seen in the paintings of the period as well. While

modern typefaces such as Bodoni, may have found inspiration in

the classic forms, they also looked ahead to the age of the machine

and mass production in that they are constructed of units that are

interchangeable.

38

Conclusion continued

Modern

geometric

complexity (simple)

The style during the Modern era centered around the cube and pure

geometry. Much of the visual art of this period has the appearance

of consisting mainly of 90 degree angles. Form was reduced to the

most basic elements and possessed no embellishment. There were

many similarities of the forms among these three disciplines duringthe Modern era. The cube was used as the basic unit for much of

the architecture and painting during this time. Type designs were

constructed with an underlying horizontal and vertical structure

as well. Like architecture and painting, it was believed that type

should be elementary in form without embellishment. Thus, sans serif

type was declared to be the modern type. Stripped of unessential

elements, sans serif type reduces the alphabet to its basic

elementary shapes. Many typefaces were designed with

interchangeable parts, which also reduced the vocabulary of

forms to a minimum.

This thesis project has proved to be extremely beneficial and self

satisfying. The topic remained interesting throughout the longprocess. It has allowed me to broaden my knowledge of

typography as well as architecture and painting.

Overall, the experience of this thesis project has provided a greater

appreciation of the design process. Following the design process

learned in this graduate program, it became evident how valuable it

is for every graphic designer. The process provides the designer with

a tool and organizational method for producing the most thouroughlyresearched, and thoughful design solutions possible.

From the research, and with the assessment of the comparative

matrix, many conclusions were made. It is important to note that

these conclusions reflect interpretations made after a year of study of

this subject matter. Undoubtedly, these conclusions may evolve and

eventually be modified as more knowledge of the subject is gained.

While a tremendous amount was learned from this project, there is

still so much more information related to this thesis topic to be

discovered.

39

Glossary of Terms

asymmetric

Baroque

complex

contrast

diagonal

directionality

form

geometry

Gothic

image

irregular

Modernism

Neoclassic

Balance in a format in which the parts are unequal on either side of

a vertical axis.

Style of art and architecture developed in Europe from 1550-1 700.

Characterized by elaborate ornamentation and a balance between

disparate parts.

Complicated form often having many parts. Contrast and ornament

present.

Ultimate differences in visual form, size, shape, weight, etc.

Movement at an angle; neither perpendicular nor parallel to

the horizon.

Implies movement, force and thrust toward a point or area in

a composition to indicate direction.

an organic structure, all the elements of that structure and the

manner in which these elements are related and united to create

its distinctive character.

Use of strict measuring instruments and mathematical principles

in construction.

Style of architecture and art prevalent in western and northern

Europe from the 1 2th to 1 5th century.

Pictures of all kinds, ranging from simple pictographs, to painting

and photography.

No elements are alike and there exists

the greatest possible contrast between elements.

The use of non-traditional innovative forms of expressionism

characteristic of many styles in the arts of the 20th century.

A revival in the 1 8th and 19th centuries in architecture and art,

characterized by order, symmetry, and simplicity of style.

40

Glossary of Terms continued

organic Form, which is derived from natural or organic sources,

rather than from mechanical ones.

regular No variation; no contrast or ornament, even increment

or proportion

Renaissance

rhythm

The humanistic revival of classical art, architecture, and

literature originating in Italy in the 14th century.

A system of frequency involved in form development or

communication. It can be regular, irregular, progressive

or a combination.

simple Elements are alike and there is little or no contrast

between elements.

symmetry A balance in a format in which the parts are equal on

either side of a vertical axis.

type The transmission and communication of the alphabet

and numerical information.

type form The selective communication of human experience in

tangible forms existing as matter in space.

vertical Perpendicular, or at a right angle to the plane of

the horizon.

unity Aesthetic cohesiveness because the form

is similar or of the same construction

type form The synthesis of all the letters of a typeface and the

manner in which these letters are related and united

to create its distinctive character

isual artvisua The selective communication of human experience in

tangible forms existing as a matter in space.

41

Bibliography

1 Blumenson, John J.G. Identifying American Architecture. New York:

W.W. Norton & Company, 1 981 .

2 Carter, Robert and Day, Ben and Meggs, Philip. Typographic Design:

Form and Communication. New York:

Van Nostrand Reinhold, 1 993.

3 Gardner, Helen. Art Through the Ages. New York:

Harcourt, Brace and Company, Inc., 1 959.

4 Hartt, Frederick. Art: A History of Painting, Sculpture, and Architecture.

New York: Harry N. Abrams, Inc., 1 976.

5 Johnson, Alfred F. Type Designs: Their History and Development.

London: Coptic House, 1959.

6 McLean, Ruari. The Thames HudsonManual of Typography.

London: Thames and Hudson, 1 980.

7 Meggs, Philip B. A History ofGraphic Design. New York:

Van Nostrand Reinhold, 1 992.

8 Mundt, Ernest. Art Forms and Civilizations. Los Angeles:

University of California Press, 1 952.

9 Nesbitt, Alexander. The History and Technique of Lettering. New York:

Dover Publications, 1 957.

10 Taylor, John F.A. Design and Expression in the VisualArts.

New York: Dover Publications, 1 964.

1 1 Updike, D.B. Printing Types: Their History, Forms and Use.

Cambridge, AAA: Harvard University Press, 1951 .

42

Appendix A

Warn

Thesis Planning Report

Designed ByAndrea Haveman

November 15, 1996

Project Title Type and Image: An Interpretive Study

Client Address Rochester Institute of Technology1 Lomb Memorial Drive

Rochester, New York 14623

Designer and Address Andrea Haveman2 1 4 Andrews Street

Rochester, New York

716.454.042514604

Situation Analysis Many students of design have come to believe that developing computer

skills is the most important element of their design education. Design

educators need to remind students that learning about the past is equally

important to graphic designers. One area that understanding the past will

help design students is type and image integration. Developing a basic

understanding of the forms and structure of type and typographic styles

through history will enable a designer to integrate type with image more

effectively. Making visual connections between typography and art

history through the ages will help students consider form when combining

type with imagery in their own work, especially work that uses images

from past art movements. A designer with an understanding of the historyof type structure and form will use type with an increased sensitivity

regardless of the subject in which type is to be integrated.

Problem Statement This thesis will emphasize to design students the importance of using

typographic form as a link for combing type with image. It will look to art

history to demonstrate this by making visual connections between letter

and typographic form through history, and changes in forms in art historyduring those same times. It will focus on several periods including Gothic,

Renaissance, Baroque, Neoclassic and Modern. The project will focus

on identifying key characteristics that best symbolize the typographicstyles of each of these periods. Representative examples of works from

the visual arts will be identified and interpreted in terms of these

characteristics. The thesis will also look at events in history andadvances in technology that directly effected typography through the

ages. The final product will be an informational guidebook for students

to use as a reference of this information. The guidebook will include a

series of panels that will use type and emphasize its form by using

images from art history that call attention to specific characteristics of

each typeface used.

Mission

StatementThis project will focus on increasing the overall awareness of the history of type and image and their

relationship throughout history. The understanding of this information by design students will lead to their

increased effectiveness as well as opening new doors for creativity.

Goals

Research To do research on the topic of

design history and its relationshipto image making.

Objectives

To do research on several

typefaces and the designer of

these faces.

Processes and Strategies

To do research from type historybooks.

To generate a list of several

typefaces and their designer.

To investigate historic images from To review fine art books.

the visual arts.

To identify the major periods in fine

art.

To collect key images from the

visual arts.

To create a database for collection To organize research into

of the information. chronological order.

Definition To assess the research gathered

and organize it into a useful bodyof content.

To present the necessaryinformation for design students to

understand.

To sort information in and

organized and rational way.

Identify the most importantinformation.

For students to recognize the need

to know and internalize this

information.

To identify reasons for students tolearn this information.

To demonstrate the application of

the information.

To evaluate this project. To evaluate feedback and modifythis project as needed.

Application To develop an informational guide

book.To organize and format information

into a quick reference book.

To construct a timeline showingthe relationship of typography to

imagery through history.

To provide a list of periods in art

history.

To identify three or four

representative pieces of art that

symbolize the style of each period.

[Image]

To identify a list of keytypographers and typefaces

through history. {Type}

To build a timeline with three

tracks:typography image, world

history and technology.

To construct a series of

informational panels.

To construct panels incorporatinghistorical typefaces with historical

imagery.

Dissemination To make project accessible to

target audience.

To view guidebook in several

locations in the school.

To make panels visible to design

students and faculty.

To deliver the guidebook to junior

and senior studios.

To disperse guidebooks to various

locations in the design

department.

To handout guidebook to design

faculty.

Display panels in key locations in

the design department.

To implement the evaluation

process.

Evaluation To define methods to indicate

success of the project.

To know approximately how much

of the information provided was

understood.

To develop a questionnaire.

To provide a space for comments

during the thesis show.

To create a sample test of the

information.

Time ImplementationPlan

November 12

Thesis Time Plan School Calendar

Last daytime class

General Calendar

15 Thesis Planning Report Due

Individual Review

28

Do research from type historybooks.

Generate a list of several

typefaces and their designer.

Thanksgiving

Review fine art books.

December 2 Identify the major periods in fine Classes Begin

art.

9

21

Collect key images from the

visual arts.

Last Day Add/Drop

Winter Break

25

January /

Organize research into

chronological order.

Sort information in and

organized an rational way.

Identify the most important

information.

Identify reasons for students tolearn this information.

Christmas

New Year's Day

Classes Resume

Committee meeting 1

February 14

17

21

March 7

Thesis Time Plan School Calendar

Identify a list of key typographersand typefaces through history.

Develop a list of periods in

art history.

Build timeline with three tracks:

typography, image, world historyand technology.

Last Day of Class

Begin construction of panels Spring Break

General Calendar

Valentine's Day

President's Day

10 Daytime Classes Begin

17 Committee meeting 2 St. Patrick's Day

30 Easter

April 7

18

25

Disperse guidebooks to various

locations in the design

department.

Committee meeting 2

May

17

24

Display panels in key locations in

the design department.

Implement the evaluation process.

Develop a questionnaire.

Provide a space for comments dur

ing the thesis show. Last Daytime Class

Mother's Day

Create a sample test of the

information.

Commencement

Appendix B

MethodologyDiagram

Technology

mage:

Key developmentsin forms and styles in

fine art through time.

image

Appendix C

Proposal

I propose an interpretive graphic design thesis on the history of

typography and its relationship to image making. I will developan informational guide book for design students that will focus

on the integration of type and image throughout history. The

study will also provide an explanation of the need for potential

designers to internalize this content. It will be an educational

reference for students that will include a contents page, a

bibliography, a glossary, maps, charts, and images with

captions. I will utilize the Cary Library and the design archives

as resources for this project.

I will also design a series of panels which integrate historic

imagery with type to supplement this guide book. These panels

will demonstrate how the knowledge of this history provides a

designer with a solid base from which to create powerful and

informed new design.

Appendix D

'

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asymmetric

rnytnm wnefc

(movement)

r i- b/gMyfunctionality functional

non-functional

space positivemass

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geometry geometric

organic

complexity simple

(ornament)

complex


diagonal

horizontal


Symmetry symmetric

asymmetric

rhythm regular

irregular

functionality highly functional

non-functional

mass space positive

mass positive

TypographyfeiOuni

diamderizedby an almost entireabsence ofernes.

9 Duerer, ...shows how to can-

struct Texlurgeometrically. . .

9 ... lettering is used almost sole

lyos ornament, an extreme exam-

ale at letters as design.

the bestname tor Ibis particular

styles'texhn"

or'texlum,'

...

whichmeans a worn fabric or

9 ... verticalsgraduadysupplant-

. horizontals as the dominant

In outer to soaaramte horizontals

asmuch as possble, the distance

between tines was gradually

reduced...

9 fimV examples of diemost formal or the Gothicbands, die uprightandangular Jaxtura orlettrede

I ? forme ... became the standard for

die bibles and service booksprepared for die use of the church.

Wemay cad dmgroup rigid,because, given die formalityofthedesignmere cctMbe ittie scope far

9 ...farexample, die n ismere

ly tmi's, andmem Ihree 1%placed in contact, so dial die com

bination such ashm is

9 From the point ofviewoflegh

Mity all the loiters were notsub}

the n ismerely two i's, and them

three i's, placed in contact, so that

the combination such asuna is

obscure. . MlegdjStymnol

1 1 the chiefaim of the medieval

9 . . .lal letters, black face, and

shortascenders and descenders

enabledhm toprodoce a closely

packedpage with a large propor

tion ofblock to while...

Painting (pictorial art)

Giotto, Madonna and OiiU bniuwiei,St Remi Reims, Cnafklion

3b ...buteven these appear la

hove been composed around a

skeleton not ofbanes but of

abstractgeometric figures. It

seems likely thallbe designers of

stainedglass windowsproceeded

in osimiormanner.

8 ...Viepulse olits rhythm

seems tasier, its tightness inmties

an amdely. . .and inalcales die

transcendent character oldie

Gothic quest for certainty. pl99

8 ...the upflted floatplanes

make objects appear above rather

than behind one another; the

shapes aver emphasized toward

the top of die visual held, prevent

them born receding into on ilasian

.plSI

Architecture

Cathedral ofQnrtres

3b ...Ihemjaaic,

'bowing"

A Quality ol the Ugh Gothic

interior ...p327

3b...but the remaining [sur

faces] have been coveredwith a

network ofarticulating

colonettes,otches,pinnadesjosetle

sand other decoiative stonework.

p329

3b provides othytiimic,ver-

ticol repetition ofthe High Goihic

3b...drapery folds... carefully

;.p324

. . .identicalunits having been soaligned that they ore seen hi loo

rapid asequence la be discriminat

ed as individual volumes ofspace.

p327

3b ...Ihebuthess eliminates die

needierRomanesque wokand

permns die cansbuctian of a skele

talstructure that's sel-consstent

. . .permits almost complete disso

lution oldie heavymosses andthick bearingwai...p329

Renaissance 1400-1600

Typography Painting Architecture

Jenson .Aldus Leonardo Do Vinci, lustSuffer MhiohmM

geometry geometric 7 ...organic unity ofhorizontal,vertical, diagonal, and diwlnrforms. p90

3 ...organized according to rules

jk ofrationahly.p67

3 ...Simplemathematicalrela-

,. tionsbips...p313

< torganic

complexity simple

(ornament) '

i

r

:omplex

|directionality

1vertical

,diagonal

lorizonlal

i

i

5 note how the placementol

1weightwhim die old style 0

creates a diagonal am. p28

17 ...organicunity ofhorizontal,vertical, diagonal, and areolar

farms. p90

> 1 ? Iformality t

1

ighly ordered

i 18 ...Sdenlibc.p67 .m 8 ...plan, order, rational. pU4

8 ...strictprinciple ofaxis and

symmetry. p67

t 3 ... greater emphasis on reason

1 than Ifte emotion of the observer.

1 P31S

fismotive

I

symmetryi

symmetric

I1 I 8 . . .static quatty olRenaissance

space. p69

as. 3 ... dassk detail symmetricpro

portion. p3l7

Iasymmetric

<

rhythm

<

regular

[irregular

(

8 the space... foreshadowedbyrenaissance pointing. . .is statidbe

beholder need onlystandstill and

observe. p!86

This lack ofa ihythmicpattern

meats dieseb centeced,criticul

attitude a!Renaissance men, who

| wants only la observe and la

know.p20l

(

3 ...ihylhmiccoherence. p317

contrast

1high contrast

\'ow contrast

mass sf(

<

xice positive

1

I

1 r

mass positive |

Baroque 1600-1750

TypographyCaslon Old Style

PaintingPeter Paul Rubens, Village Carnival

Architecture

AAaderno-Bemini, StPeter's

geometry geometric

Iorganic

3 Fluid organic relationship

between thepans ol the buddingare characteristic. p398.

complexity simple

(ornament)

complex

9... The lower-case lebers have

_ slightly bracketed serifs thiaugb'

out.

3... typical ol die Baroque love of

camplerity

3 Planning andspatial organization readied unprecedented cam-

pksty.p398


1 diagonal

horizontal

1

9 Ibis type is a rebogressive style

> to agreat extent, being based

largely an Dutch type of the last

ballol the seventeenth centuiy; in

die precision cutting and die

peipendicularity. pl30

3... solidity and repeated vertical

of the trees and the house. p407

if

3 Longitudinal at axial church

aa plan...pdOQ

formality /

<

ighly ordered

>

emotive

i

a>. 3 Marshalled bymarvelous control andprecision p400

symmetry<

i

symmetric

t

asymmetric

(

Obs. Page layouts show asym-

. metricalan.

l ?

rhythm

i

regular

irregular

l

9 One ormore of tie characters

in each fontof die larger sizes are

notweb related to the rest ol the

alphabet; this ladin then beingdistracting, gives a page ofCaslon

a certain irregularity that is inter

esting to the eye. pi32

>

l

8 Only through empodietic of

I themovements suggested by diepainter can Ibe meaning, which is

fundamentallynot a factbut a

process, be grasped. pl8i

With the beginning of IbeBaroque. . .comas a revival of

rhythmic pattern.

(

3...see also how this intricate

f array is orderedby die rhythmicrepetition...pdOO

contrast

(

ligh contrast

1

tow contrast

1

5 Ibe tellers are pleasantlylegi-

) ble...pS3

mass sp

<

<

m

ace positive

I

I

oss positive

Neoclassicism1750-1900(''modern"

type)

Typographyftoosm

Sosterafle

Painting (naturalism)

Georges Seurat,SundayAfternoon on Sronde Jatte Island

Architecture

classicism naturalism

{Smithsonian} {Marshall Fields}

geometry<

<

geometric

organic

? Ibe tendencywash approach

ass ol design problems with a fixedset olproportions andmeasure

ments.. ,p!22

3 Seurat hunsfoimed the impies-

A sionist illusion olnntutol appear

ance into a precise organizaliaa

composed olpeople and objects

dial are solid and arranged with

mathematical regularity. ..pool

3 The use of bee, asymmetrical

plans dosely related tame naturalenvironmentp773

<>

complexity

(ornament) *

4

simple

>

zomplex

7... the bardeis and tiieorno-

_ meats of the eadier decorative

style...were cast aside far a sever

economy of farm and efbdency of

fatal p!25.

directionality4

4

vertical

t

diagonal

t

Horizontal

i

5 By the 1700s, the impactol

. writing dedined, end Ibis axisbecame completely vertical in maytypefaces. p28

9... Ibis whole effect of die bnoi

dossical ormodern types is one of

compression, contrast, and vertical

ity... pl2l

3. ..die pattern is based on the

-x. verticals ofdie figures and dees,die horizontals in the

shadows. . .die diagonals in the

{ | shoreline...p667.

formality f

(

i

ighly ordered

>

emotive

(

9 The tendency was to approach

all design problems with a bxed

Iset ofproportions andmeasure

ments.. .p!22

9... die dossical revival, [intra-

ducedla sbange stiffness and

pseudoseverily. . . the result ofa

sterile, mathematical approach to

letters. pW3

3... Ibis isa calculating,inteiiectu-

_. olart.p668

3 carefully orgaaized. . . p773

fi

symmetry symmetric

I

asymmetric

4 1 4 1

4

3 Asymmetricplans... p773

>

j

4i

rhythm

(

(

regular

t

t

rreaular

(

9 This regularity- the slandanbzo-

t ban ofunits- was a concept ofdie

emerging indostiial era of the

machine. p!25.

4

3 ...each so placed in space to

? set up a ihylbmicmovement In

depdi aswed as bam side to side.

pU8.

4

3 Here the ihytimicalhcalmenl

1 of the opening voids... p773 ( >

contrast

(

(

/

nigh contrast

>ow contrast

(

9. . .here are compression,con-

bast, vertically, hairline serifs, and

1 a mastmeticulous finish, pi 93.

7 The thin strokes ol'his letter-

farms were trimmed to the same

weightas the haidine serifs, creat

ing a brilliant sharpness anda daz

zling conbosl thatbadnotbeen

seen befaie.pl25.

( I

mass sp

<

mc

ace positive

t

jss positive

4

9 Bodoniseparatedhis lines> widely, achieving a lightpage

effect. p!39.

7 lightness was increased byusing a smaller xbeigbt and

longer ascenders and descenders.

Modernism 1 900-

TypographyAdrian Frutiger, Ibiiveis

PaintingPie!Mondrian,Composition m Red, Mow, andBlue

Architecture

Walter Gropius, .Mies Von Der Rohe,Bauhaus Illinois Institute of Techm

geometry<

<

jeomelric

t

1organic

7 The geometricsanssealstyles,

mathematically cmshucted with

awfhog instalments...p336

41

3. . .sbnptidtyand geometric

m order...p709

complexity

(ornament) '

4

simple

>

zomplex

6. . .sans tend to lookmore aid-

^ larni, or featureless...andrequiremora effort to lead. p70

3...but for adits extieme simptic-

_ by the painting is'

complex...p709

/ . . . complete absence ofoma-

fment. (Bauhaus) p780 .

,

3...sbnpfdly ofMondrian. HID

p782

directionality4

4

vertical

t

diagonal

t

horizontal

I > <

<

7. . . composed ofhorizontal and

* vertical tines...p279

\

3...emphasis of vertical andhori-

a zonlul. (Iff) p782 1 1

4i

formality /

(

i

ighly ordered

t

dmolive

1

? even weight...interchangeable

1 components.(

3. ..darity and dehhitioa. . ,p708

>

3. . .anlibistorical.iBaubattsl

p780 aa

3...new order. (IID p78l

41

symmetry(

(

symmetric

t

1

asymmetric4

?. . .heroicasymmetrical balance.

1 41

3. . .unrelated,aisconlinuous

ele-

ments.(Bouhaus) p780

3...bxed andsymmetric type of

design. (IIT) p781

I

rhythm

(

(

regular

t

j

rregular

4 1

contrast

(

<

ligh contrast

t

>

cm contrast

1

I >

mass sp

<

m

ace positive

i

t

oss positive

Appendix E

Typography: Visual Connections

to Art and Architecture

Through Time

Evaluation Form

Andrea Haveman

Prof. Deborah Beardsiee

May 9, 1997


jCb )I am a graphic design frcahman sophomore junior senior graduate^xpert

\^^S'


1 I understand the purpose of this book completely (7^) -

2 In general, this topic is useful

\*y-

3 To me, this topic is useful /aQ.

interesting'n|( J

4 I could learn about typography from this book. &

5 The information that the book provides is sufficient /\~} r

6 The organization of the book is dear r\j ,

7 Thematrix is.. (^l?>.'. I.S) dear Q) t

helpful (^ a-

interestlng a- &

8 The timeline is - dear .Q>

dloH^li-^^.,_ s__ ^2_interesting *b-

9 The cover is dear -4a*.

interesting #.&-

10 The images are helpful Q-

interesling f^

11 The colors for the different sections are. appropriate fm/ a

attractive a C^~~

helpful JL

12 The overall design of the book is interesting /^-

&clear

-m not at all

-m not useful

-m not useful

boring

_ disagree

- insufficient

unclear

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> not helpful

-m boring

- confusing

-m not helpful

- boring

- unclear

_ boring

- not helpful

- boring

- uiappropriate

- unattractive

- not helpful

boring

.at unclear

Please add any additional comments in the space below.

faÂ/pFWV) cor- r^hsevu ^zrvufofâO^

y-\ i /7 \

*n}o TJO *>*

A'

i, ymin:

J



Through Time

Evaluation Form

Andrea Haveman

Prof. Deborah Beardslee

May 9, 1997


b I am a graphic design freshman sophomore junior senior graduate^) expert

(Circle a or b) (circle one)-'"

1 I understand the purpose of this book.

2 In general, this topic is


4 I could learn about typography from this book.

5 The information that the book provides is

6 The organization of the book is

7 The matrix is

8 The timeline is.

9 The cover is.

10 The images are.


npletely&

useful -

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appropriate f>\

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12 The overall design of the book is interesting (**X

clear ^.

Please add any additional comments in the space below_

not at all

not useful

not useful

boring

- disagree

insufficient

unclear

confusing

not helpful

boring

confusing

not helpful

boring

unclear

boring

not helpful

boring

inappropriate

unattractive

not helpful

boring

unclear



Through Time

Evaluation Form

Andrea Haveman


May 9, 1997


b I am a graphic design fre.hman Phbmoi

(Circle a or b) (cjrele one

1 I understand the purpose of this bookcompletely (?)

2 In general, this topic is U8eful f$

3 To me , this topic is uaeful , Qinteresting&

4 I could learn about typography from this book agreeaQ1?

5 The information that the book provides is sufficient a-1-

6 The organization of the book is dear (~f\

7 Thematrix is. .{_\> îV.lS)

^

clear

helpful ^1&

8 The timeline is.

interesting

clear

helpful

&

interesting <*-

9 The cover is.clear

interesting

&10 The images are hdpfui _

interesting I A

11 The colors for the different sections are appropnale m

attractive I .-(-

helpful 9


clear

&e-

ra

&

&

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Please add any additional comments in the space bplnw 71 ( r le\0$ . J

senior graduate J expert

not at all

- not useful

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- boring

disagree

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unclear

- confusing

- not helpful

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n J ij. , J -

n- J II i



Through Time

Evaluation Form

Andrea Haveman


May 9, 1997


S7\Dyam a graphic design freshman Bophomore juntos; senior graduate expert

(^___^-^(Circle a or b) (circle one)




complete!

useful

<3-

useful

interesting&

&

not at all

a not useful

not useful

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7 The matrix is

8 The timeline is.

9 The cover is.

10 The images are.


12 The overall design of the book is.

&

sufficient

clear o-

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Please add anyadditional comments in the space hplnw. J-VWicag^ .'^...riÂA tWo VUt oAU

f !


to Art andArchitecture

Through Time

Evaluation Form

Andrea Haveman


May 9, 1997

[ senior ]g


b I am a graphic design freshman sophomore junior ( senior'Jgraduate expert

(Circle(a)>r b) (circle one) V^_^

1 I understand the purpose of this book


completely a * not at all

useful

3 To me, this topic is uaeful . 0interesting

4 I could learn about typography from this book


6 The organization of the book is ciea

7 The matrix is. (fp l3:.l5.)

not useful

not useful

boring

disagree

insufficient

* confusing

not helpful

8 The timeline is ciear

helpful

interesting

9 The cover is dear

interesting

10 The images are.



confusing

not helpful

not helpful

inappropriate

unattractive

not helpful

a* unclear

Please add any additional comments in the spacehftlnw. /s(jas&AJ( /A? ^y^rjL^

/g^; g^w^



Through Time

Evaluation Form

Andrea Haveman


May 9, 1997


b I am a graphic design freshman sophomore junior ^senior)graduate expert

iPst-nlA a \w \\\ fr*li**.laa> rsnasl'

(Circle a or b)


(circle one)

completely C^ -

2 In general, this topic is useful (Q-

3 To me, this topic is useful

interesting

. Q .

Q

4 I could learn about typography from this book agree . rO

5 The information that the book provides is sufficient a ai_

6 The organization of the book is dear 9-

7 Thematrix is.Wtlr.l.S.).

8 The timeline is.

clear

helpful

interesting

clear

helpful

interesting

9 The cover is dear

interesting

10 The images are.



helpful

interesting

appropriate

attractive

helpful

interesting

clear

^

&

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9

Please add any additional comments in the spacebelow_

~* not at all

_ not useful

not useful

_ boring

- disagree

- insufficient

uncle

- confusing

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Sbtg tyJ/puJ &Ua2s fj/U -htchh*. a*/ rfnw^pqM&s.

CLl.



Through Time

Evaluation Form

Andrea Haveman


May 9, 1997

(circle one)


(lDS I am a graphic design freshman sophomore junior /senior^graduate expert

(Circle a orb)'-:"' *



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Through Time

Evaluation Form

Andrea Haveman


May 9, 1997


b I am a graphic design freshman sophomore (^junior) senior graduate

'

expert


1 I understand the purpose of this bookrrmrhHs^

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Through Time

Evaluation Form

Andrea Haveman


May 9, 1997


D 1 am a graphic design freshman sophomore junior {jseuiorj graduate expert


1 I understand the purpose of this bookcompletely




8 The timeline is.

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useful

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Through Time

Evaluation Form

Andrea Haveman


May 9, 1997


D 1 am a graphic design freshman sophomore

junior'"

senior graduate expert


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Through Time

Evaluation Form

Andrea Haveman


May 9, 1997


lb) I am a graphic design freshman sophomore (junioV senior graduate expert


1 I understand the purpose of this book completely /T") -

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Through Time

Evaluation Form

Andrea Haveman


May 9, 1997


b I am a graphic design freshman sophomore (junior/ senior graduate expert


1 I understand the purpose of this book completely (^^}



useful




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Through Time

Evaluation Form

Andrea Haveman


May 9, 1997


b I am a graphic design freshmansophomore^ junior)

senior graduate expert

(Circle a or b)




(circle one)

completelye-

useful

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interesting *-

ty

agree

er4 I could learn about typography from this book

5 The information that the book provides is sufficient /a^X-

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Through Time

Evaluation Form

Andrea Haveman


May 9, 1997


I am a graphic design freshman sophomore /junior) senior graduate expert

(Cirde a or b) (circle one) V ^

1 I understand the purpose of this book completely ^ - a a .

2 In general, this topic is useful o _ .

3 To me, this topic is useful a p)-

interesting (*3~

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agree

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10 The images are helpful Q_

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Please add any additional comments in the space below. .

77u hc>i)\C /note rKWnjqh \\ mas \im\ i\m osnsiimmn. Ajiri f\



Through Time

Evaluation Form

Andrea Haveman


May 9, 1997

(a) I have no experience in graphic design



1 I understand the purpose of this book completelyr^-

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3 To me, this topic is useful a

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Through Time

Evaluation Form

Andrea Haveman


May 9, 1997

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(J)* I am a graphic design freshman /^sophomore junior senior graduate expert

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Through Time

Evaluation Form

Andrea Haveman


May 9, 1997


b I am a graphic design freshman (^sophomorejjijunior senior graduate expert


1 I understand the purpose of this book completely ./"a^

2 In general, this topic is useful

3 To me, this topic is ful

interestinga-

4 I could learn about typography from this book. agree

5 The information that the book provides is sufficient (^5

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helpful

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Through Time

Evaluation Form

Andrea Haveman


May 9, 1997

| .aj I have no experience in graphic design

I am a graphic design(Circle a or b)



. freshman sophomore junior senior graduate expert

(circle one)

completely &

useful

3 To me, this topic is U8efUi \m _

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agree *4 I could learn about typography from this book

5 The information that the book provides is sufficient \L

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Through Time

Evaluation Form

Andrea Haveman


May 9, 1997

() I have no experience in graphic design



1 I understand the purpose of this book completely a *)-



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Through Time

Evaluation Form

Andrea Haveman


May 9, 1997

Jaj I have no experience in graphic designb I am a graphic design freshman sophomore junior senior graduate expert







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S*ilail

Documents

Typography: Visual connections to art and architecture