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1995. Seattle. 11 x 8.5 inches. 30 x 21.5 centimeters. Offset lithography. Four color process. Perfect bound. Number 1 in a series of 9 catalogs for a company selling stock photography on compact disc. Design by Weed.
Copyright 2014 by Estudio Calderon. All rights reserved.
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This was a calendar I did for a typography class. We were supposed to take a specific font (caslon for me) and combine it with a quote and then base a design off of that.
Berthold had two Times families in its phototype library at the time this Berthold Types catalog was published in 1988. “Times New Roman” looks to be based on a 12pt or larger size, like the digital Times we know today. But Times New Roman 327 (a series name from Monotype) appears to be based on a smaller metal version. It’s darker, broader, and sturdier.
The difference is even more obvious in the bolds of the two families. To me, the sources for both Monotype (AKA 334) and Linotype digital versions (MT’s is essentially what you see here at left) really suffer from the condensed bold. At first I thought this was the result of duplexing, the practice of casting multiple styles and weights on the same width, but Walter Tracy in Letters of Credit says that wasn’t a requirement for the project and indeed Roman and Bold widths differ. In fact, many Bold letters are actually narrower, resulting in counters reduced to mere slits in some cases. Times 421 is not compromised in this way and the result is much more clear and confident. Yes, it takes up more space; but this style needs to — especially for text.
Times 421 also maintains the angled stress of the regular (327), while Times New Roman Bold is forced into an unrelated vertical stress. Starling is a digital interpretation of Times that does maintain stress angle and open counters throughout its weights, but it’s still more of a display face.
I haven’t yet compared the italics.
I don’t know if this design originated at Monotype or if it’s a Berthold invention. It isn’t a match, but it does seem similar to the variant used by Stanley Morison in his essay on Times for A Tally of Types (1953), which he describes as “a wide version, more suited for longer lines.” Jaspert, Berry and Johnson show that in Encyclopaedia of Typefaces as “Times Wide” (Series 427).
Another possible link to this Berthold design is mentioned by Tracy in Letters of Credit:
“This disparity in style between the roman and bold was evidently something the German Linotype company thought should be eliminated. In the version of Times Roman they issued in 1935, first called Neue Romanisch but then named Toscana, the bold lowercase was redesigned in the ‘old style’ mode. The idea of harmonising the bold with the roman was logical; the actual execution, especially the character spacing, was not well done. The type soon disappeared.” [scan]
tipográfia urbana caligrafia contemporânea do estilo de escrita .
quadro - 30 x 40 feito com canetão e spray
A recent task in pathway stage was designing alphabets both through illustrated lettering and 3D formations. I wanted to create a playful colourful alphabet so used the popular childhood toy LEGO to create the digital style letters. I think the overall effect is striking and simple but the colours would need to be more carefully thought out in order to make the letters more legible.
Theophile-Alexandre Steinlen design 1896. His 305 by 228 centimeter (10 X 71/2 foot) poster printed in panels is one of the beginnings of ourdoor advertising in the style of contemporary illustration that eventually produced the huge billboards of the twentieth century. Steinlin's panel poster was commissioned by the Charles Verneau printing plant and was posted as an advertisement for the company on the streets of Paris.
Steinlen was a friend of Toulouse-Lautrec and they were both masters at drawing on the lithographic stone. I wonder how this was printed on a nineteenth century press, and what was the source of the letterforms. Cold type, hand drawn, or what.
Latest Free font The Heart of Everything preview. www.freefontspro.com/39300/the-heart-of-everything.ttf
Photographed at the Local Studies Collection at Richmond Upon Thames' Old Town Hall
www.richmond.gov.uk/home/leisure_and_culture/local_histor...
my current wallpaper. i make a new one every weekend, i just focus on a dark color and a very simple design or statement. i really don't like busy or bright backgrounds
never really thought to upload to flickr before, and this is probably going to have about five views by doomsday. type is gotham black text
"the most powerful color combination of all time, from a coca-cola can to a nazi banner"
jack white of the white stripes
I'm happy to say that I have work in Steven Heller and Lita Talrico's book, Typography Sketchbooks. The book is packed with heavy hitters (Art Chantry, Ivan Chermayeff, Milton Glaser, Erik Spiekermann), I'm not entirely sure what I'm doing in their company! When asked to contribute for the theme of typography sketchbooks, I decided to use the notes and files from the design process for the Frazer/Montague Design logo. The first spread is from an actual notebook and the second is one of the sprawling Illustrator documents I generate when I am trying out different directions for the design of a logo. I might have been a little too honest, a lot of the work in this book looks like finished work that involves typography. Also, they don't show my final design, for the logo, but that's OK, the reader basically gets a sense of it from the first spread.
DESIGN: Hiếu Panda [ Digital artist - Designer ]
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