Chapters 1 & 2- Nalezny

It is interesting to see letters go from a simple carving on a stone to something so precise and unique. For example, on page 2, figure 1-8, the picture of hieroglyphics is more like small pictures and drawings than words. There are so many more ways to interpret these small drawings, and more work goes into creating them. I think they could be more universal, more people can understand images or symbols than letters themselves. It is like symbols on restrooms or street signs. Moving forward, this artistic format of letters continues. On page 9, figure 1-61, the E that Johann Theodor de Bry is more of a picture than letter. The combination of letterform, drawings of people, and animals is above and beyond a simple letter E now. Being decorative and exaggerating the actual letter itself seems to be a trend for many years. In1995, a single letter form is used again. On page 26, figure 1-95, the solitary X with an almost pixelated look is formed. It is expressive, yet simple. It is like the letters are creative in a different way. There is less emphasis on the hand drawn detail and more on the different ways one can make a letter look. Stretching it out, making it fade, or morphing it into something else completely. It is taking something simple and making it far more meaningful than it looks.

I find it interesting how every little part of a letter has a purpose, or has transformed over time, altering its appearance. Each typeface though similar has its own unique feature. The stroke, weight, proportion, and overall style vary with each font. On page 34, image 2-14, there are different designs of a letterform either condensed or expanded. Starting in 1499, the Old Style font is thin, resembling pen writing. Gradually, it becomes thicker and rounder, especially in 1928 when Bodoni is extremely dense in weight. Then by 1957, the weight is once again thinner, returning to the Old Style style. Going off of this idea of similarity, the letters are united by traits they share with other letterforms. Page 37, figure 2-26, shows how letters like b d p and q share serifs making them look alike. A V W M also share diagonal strokes. The similarities are subtle, but they are repeated enough to make them similar and also unique. A letter can appear off balanced if the weight or curves are not harmonious. Page 36, figure 2-18, explains how a letter might look too short if the top of the letter has weight. Another example is if the horizontal and vertical lines do not vary in thickness (2-20). Then the letterform would just appear to be too thick. It is important that the top and bottom of the letter look balanced/equal if the horizontal and vertical strokes combine.