Project 4 – 20th century type
Research Progress – Proposal
Heading Title
Palatino
Subheading
Touch of Humanistic Classics
Decade: 1950s
Type designer: Hermann Zapf
Typeface: Palatino
Typographic technology: Phototypesetting
Drawing upon the findings, my information panel will contain three related segments, however the Typographic technology aspect will be the feature.
Typographic technology – Phototypesetting – (Featured segment)
In 1950 typeface designer sought to reduce prototype cost, and developing new technology was introduced ‘Phototypesetting’. By 1954, the new technique is to reduce the hazards of, converting a new letter form into metal type (White 2005, p.174-189). Using photographic paper, the setting for type is to expose film negatives of characters and, processing it onto the paper, also known as; cold-process. Display phototypesetter were used for larger titles and headlines; text type was set using keyboard phototypesetters. Carter, Day & Meggs (2012, p.130) asserts that, during the 1960s, the rapid improvement to this technology shifted the metal type. set from the film font (whose capitals were about an inch tall) in a wide range of sizes. Full control over the Type, and perfect sharpness could be retained by enlarging and reducing the type size. Disparately, metal type becomes obviously ragged due to enlargement. In photo type, exposing the same negative multiple times, made an unlimited number of characters, unlike characters restricted number in metal fonts. Carter, Day & Meggs (2012, p.130). Designers explored new potentials, as no constraints to metal blocks, and the lens device allowed photographic twist. Carter, Day & Meggs (2012, p.130) explained that, ‘Phototypesetting’ reduces the cost of casting letters and punching, moreover; economical film font introduces variant styles and experimentation. Between 1950-60, phototypesetters were developed, introducing photo-scanning and photo-optical systems permitted designers to gain control over typographic elements, kerning, overlapping, text wrapping and line spacing. Carter, Day & Meggs (2012, p.130). The electronic operation of Phototypesetters facilitates the storage space, and electronic editing-corrections are flexible and eligible. Carter, Day & Meggs (2012, p.130).
[Word length: 268-300, content will be revised with more images, to visualise the featured elements]
Images to support my argument (this will be refined with more images of typesetting/typographic technology from the period)
To convey the message, this section of the information board, audience need to focus on the development and, is to visually read the sequence of timeline. Comparison between two different phototypesetting/typographic technology must be clear, to engage the readers, allow them quick tour and navigate to the period.
Type designer: Hermann Zapf (Segment 2)
I research Hermann Zapf’s typographic style/profile, as type designer his tenet with the tradition, to develop sensitive letterforms to be visually legible with harmonious shapes, balanced block letterforms and stylised serif and sans-serif letters. This principle, I find inspiring, to communicate my visual through his absolute clarity of elements, and to focus on legibility, scaling and alignment of the letters as part of his typographic vision (Aynsley 2004, p98).
It is therefore, further research for a serif typeface has been conducted, and the Palatino Typeface would be the perfect appearance in the next section of the information panel. For its improved legibility, with open counters and carefully weighted strokes.
[Word length: 150, content will be subordinated with his image, and maybe with sample of his work]
Typeface: Palatino (Segment 3)
My concept is to create a modern, simple and new typographical expression of Hermann Zapf’s work, ‘Palatino’. A background of Giovambattista Palation, to reflect upon the history timeline of the typeface. This section is not a chronology of a typeface, it is the essence of it, showing the meaning of the master of classical typography. This section will present, artefacts, samples and some application of the Palatino Typeface over the 50s period, and maybe after.
[Word length: 150, content will be subordinated with his image, and maybe with sample of his work]
Exploring the Typeface
https://www.linotype.com/645/hermann-zapf.html
Layout Inspiration
My initial stage for this section is to start with the first idea sketch, and further development with the information panel layout. The second stage, is to explore the type specific, to make words appear to the audience clear and open as the typeface. Adding more overlapping, grouping and isolating.
Finally, after reading all the discussion group and revising the collaboration session, I decided to position the type designer’s name and support his message without distracting the audience attention or, adding any unnecessary information. The project is about communicating the information of the mid-century typography and type design.
Reference List
White, A 2005, Thinking in type: the practical philosophy of typography, Allworth Press, New York, NY.
Aynsley, J 2001, A Century of Graphic Design, Octopus Publishing Group Limited, London.
Carter, R, Day, B, & Meggs, PB 2012, Typographic Design: Form and Communication, Wiley, Hoboken. Available from: ProQuest Ebook Central. [12 September 2017].
