![]() Bodoni described the ‘beauties of type’ as ‘conformity without ambiguity, variety without dissonance, and equality and symmetry without confusion. Bodoni and Didot exaggerated the height and verticality of the ascenders and descenders of the letterforms, lending the characters an architectural grandeur. The result is abstraction and precision, echoing their Enlightenment origins. ![]() The late eighteenth- and early nineteenth-century typefaces of the Frenchman Firmin Didot and the Italian Giambattista Bodoni are classified as modern because they introduced an extreme contrast between thick and thin elements, achieving a radical consistency among letter shapes by subjecting the variety of the alphabet to a thick / thin autocracy. Over the twentieth century, carrying into the present, one can observe competing aesthetics of modernity, traceable through different uses of the ‘modern’ typefaces of Didot and Bodoni and the ‘avant-garde’ aesthetic of sans serif grotesques. This phenomenon is observable in the arena of fashion, where serif and sans serif tyefaces have articulated a certain landscape among fashion magazines and fashion brands. Such patterns of use can become so pronounced that they shape our understanding of typography. ‘What is so feminine about Optima?’ he asks, as he wonders whether these gendered associations inhere in the forms of the typeface, or evolve from patterns of use. He checks his work against the competition by making a trip to the drugstore and discovers that Almay, L’Oréal, Revlon, Cover Girl and Maybelline follow an almost uniform typographic code, most sharing the stylistic root of the typeface Optima: he knew the ‘right’ typeface before he realised he knew it. After working to produce an appropriately ‘feminine’ logotype he arrives at a high-contrast sans serif that intuitively feels right. Type designer Tobias Frere-Jones once recounted his experience developing a logo for a company that produced hair products, false nails and perfume. Yet, as typefaces and lettering are employed in related contexts, the associations of these contexts bleed into our understanding of the typeface itself. Barring letters that have an overt figurative origin (characters made of branches or rope), the domain of typography and lettering is refreshingly content-free, a matter of style, history and functionality. The organised layout of this poster allows us to take in all of the information without being confused by the page, the hierarchy of the page makes us see and easily read the main title.Typefaces are abstract. The base of black and white with the major coloured letters on top make for a unique and sophisticated poster. When I saw this design I liked the way the alphabet was placed in the negative space. The design for this poster has used a completely different design using a four grid page layout, the layout is simple but shows maturity in its layout and how it uses negative space. This poster allows the text to have more space on the page and also uses colour to improve its design. This poster displays everything you need in a type specimen poster, I like the layout and the way the separate bodies of text are split up using colour. This font is very professional and is used in a working context, it wouldn’t necessarily be used for a chunk of text but it would be used for a title which will be seen by a massive audience. ![]() It has been used as titles for magazines, for example Vogue, it’s also been used for broadcasting networks like CBS. The context for using Didot fonts is that it is seen as an expensive font due to it being a lighter font with serifs, Didot is arguably seen as the most expensive looking font. the fonts orientation is vertical and like Baskerville’s typefaces has sections with higher or lower pressure added to the type. the genre Didone is built up with serif fonts from the 1800, before this period old style serif designs originate. The classification of Didot is Didone or Modern. The fonts take influence from John Baskerville’s typefaces. Between 17 Firmin designed several typefaces and they as a group make up Didot, his family owned the most important print shop and font foundry in France during the 1800. The designer of Didot, Firmin Didot, was a french designer born in 1764 and died in 1836.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |