Chapter 1 and 2 Reflections

Chapter 1:

Immediately I found the format of this chapter refreshing. Rather than having the reader trek through paragraphs of history, we're given a visual timeline that tells the story of typography much better.

It’s shocking to notice how far we’ve come and how, despite so many variations on the same principle over centuries, we were able to create a collection of symbols that can be read globally and understood. Even at a time when it’s virtually impossible to create something that hasn’t already been done, we as people are still searching for new ways to reinvent the things in our lives that we’ve known as commonplace. Deep down, in the roots of typography, you really get a sense of what the medium is all about-expression. People yesterday, today, and tomorrow were, are, and will be searching for ways to make their expressions more efficient, understandable, eye-catching, etc.

I noticed a pattern within the timeline that shows how typography alternates between these periods of organization and creativity. I hypothesize it works like this: expression and the art of typography presents challenges for technology. Technology then finds a way to meet that need for good or bad, and creativity then responds to it accordingly.

I always wondered what the first writing looked like from a young age. I knew it wouldn’t even be close to what we use today, but in the end it had a meaning that, only those with the knowledge of the past, could interpret. It resembles a group of “i’s” as well as an “M” with dots above it. At this point I can only guess what this means and hope I’m somewhere in the realm of its true meaning.

This is the product of the year 1470 and we still use type that is based on this initial design. It’s clear and flows well, which is why it and it’s offspring have lasted so long.

Saul Bass and a hand few other mid- 20th century designers inspired me to study this art. Bass’ work in some cases almost seems primitive to our post-modern eyes. Yet, his style is perpetuated constantly in today’s works and continues to inspire designers and artists around the world. For us, his work and the work of this time period, brings about a sense of nostalgia. I personally strive to evoke that nostalgic essence in my work because it is so potent to people today.

Chapter 2:

Outside of typography and graphic design, I am very interested in human anatomy and physiology. The idea that there are millions of small and large parts that help create this sophisticated system we call a body astounds me. I have found that same interest while reading this chapter.

The text named and described many keys parts to the letters and symbols we know. Before this class, I was unaware there were any titles to these elements aside from serif and sans serif. Luckily, through the text, I’ve been introduced and soon will be familiar with these new terms.

In the beginning of the chapter, I found this image to immediately attract my attention. The Greeks found that each of the letterforms they knew and used at the time were able to fit and be formed from this diagram. It makes sense because in more Western- style thinking, we see things fit in squares, making them easy to bunch together, organize, and reproduce. It goes on to state that this frame of design confines the ability to design greatly, which, I can agree. Much like anything we produce creatively today, we are always looking for ways to think outside the box.

This image also caught my attention. There’s an evolution going on within these O’s. Just the design of these simple circles tells a history all its own. It’s like watching a clock hit midnight. Because the majority of writing was still down with ink and pen in 1499 and into 1757, you can spot the remnants of stroke weight that you would find in the hand of a skilled calligrapher. Once the printing press became a staple in production and handwritten publications became a less efficient means, designers saw a chance to create bold fonts that at first mimicked the hand then later became the product of skilled draftsmanship and the eye for legibility.