sam watson type book

8/14/2019 Sam Watson Type Book

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F

frutiger


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frutiger

FThe Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design


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designed andedited by

SamanthaWatson

2009 1314.01

typography I

TheGrand

Design

by robert

bringhurst

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F


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1

2

3

4

frutigeritalic

HonoringContent

frutiger

italicLife and

Dignity ofLetters

frutigerfont sizes

5

6

7

8

9 10

frutiger

boldStyleBeyond

Style

frutigerblackLogic of

Typography

frutigervs.

other fonts

frutiger famiy


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F frutiger italic

In a world rife with unsolicited messages, typography must

often draw attention to itself before it will be read. Yet in

order to be read, it must relinquish the attention it has drawn.

Typography with anything to say therefore aspires to a kind of

statuesque transparency. Its other traditional goal is

durability: not immunity to change, but a clear superiority to

fashion. Typography at its best is a visual form of language

linking timelessness and time.

The satisactions o the crat come rom elucidating, andperhaps even ennobling, the text, not rom deluding theunwary reader by applying scents, paints and iron staysto empty prose. But humble texts, such as classifed adsor the telephone directory, may proft as much as any-thing else rom a good typographical bath and a changeo clothes.

1

Light Italic

Italic

The typographers task has always been to adda somewhat...

10/14 pt

10/12 pt

F frutiger italic

Letterforms that honor and elucidate what humans see

and say deserve to be honored in their turn.Well-chosen words deserve well-chosen letters; these in

their turn deserve to be set with affection, intelligence,

knowledge and skill. Typography is a link, and it ought,

as a matter of honor, courtesy and pure delight, to be as

strong as the others in the chain.

Simple as it may sound, the task o creative non-intererence with letters is a rewarding and

difcult calling. In ideal conditions, it is all that

typographers are really asked to do and it

is enough.

2

Bold Italic

Black Italic

...unnatural edge, a protective shell o artifcialorder, to the power o the writing hand.

10/18 pt

10/14 pt


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3

A cubist painting in an eighteenth-century gilded frame, or a seventeenth-centurystill-life in a slim chrome box, will look no sillier than a nineteenth-century text from England set in

types that come from seventeenth- century France, asymmetrically positioned on a German Modernist page.

Condensed

Light

Black

A cubist painting in an eighteenth-century gilded frame, or a seventeenth-century still-life ina slimchrome box, will look no sillier than a nineteenth-century text from England set in types that come from

seventeenth- century France, asymmetrically positioned on a German Modernist page.

A cubist painting in an eighteenth-century gilded frame, or aseventeenth-century still-life in a slim chrome box, will look no sillier than a

nineteenth-century text from England set in types that come from seventeenth-

century France, asymmetrically positioned on a German Modernist page.

4

18/18 pt

14/18 pt

12/18 pt

18/18 pt

18/18 pt

14/18 pt

14/18 pt

12/18 pt

12/18 pt

10/18 pt

The original purpose of type was simply copying.


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Typographic style, in

this large and

intelligent sense of the

word, does not mean

any particular style my

style or your style, or

Neoclassical or Baroque

style - but the power

to move freely throughthe whole domain of

typography, and to

function at every step

in a way that is

graceful and vital

instead of banal.

Typography is to

literature as musical

performance is to

composition: an

essential act of

interpretation, full

of endless

opportunities for

insight or

obtuseness. Much

typography is far

removed from

literature, for

language has

many uses,

including packaging

and propaganda.

Writing can be used

both for love letters

and for hate mail,

and love letters

themselves can be

used for

manipulation and

extortion as well as

to bring delight tobody and soul.

F frutiger bold

BoldCondensed

Bold

Bold Italic

5

The typographer is to the

text as the theatricaldirector to...

8/11 pt

8/12 pt

8/11 pt

The frst task o the

typographer is

thereore to read and

understand the text;

the second task

is to analyze and

map it. Only then

can typographic

interpretation begin.Writing merges with

typography, and

the text becomes

its own illustration.

The typographer

must analyze and

reveal the inner

order of the text,

as a musician must

reveal the inner

order of the music

he performs. But

the reader, like thelistener, should in

retrospect be

able to close her

eyes and see

what lies inside

the words she

has been reading.

Letterorms have

tone, timbre,

character, just as

words and

sentences do. The

moment a text and

a typeace are

chosen, two

streams othought,

two rhythmical

systems, two sets

o habits, or i you

like, two

personalities,

intersect.

They need not

live together

contentedly

forever, but

they must

not as a

rule collide.

F frutiger black

BlackCondensed

ExtraBlack

Condensed

Black Black Italic

Ultra

Black

6

...the script, or the

musician tothe score.

8/11 pt

8/14 pt

8/11 pt 8/11 pt

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There are always exceptions...

7

AaAaAaAa

AaAaAaAa

FrutigerRoman

ArialRegular

HelveticaNeueRegular

UniversRoman

FrutigerBold

ArialBold

UniversBold

HelveticNeueBold

...always excuses for stunts and surprises.

8

AaAaAaAa

AaAaAaAa

FrutigerItalic

ArialItalic

HelveticaNeueItalic

UniversOblique

FrutigerBoldItalic

ArialBoldItalic

HelveticaNeue

Bold Italic

UniversBold

Oblique


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link the text withother existing

elements

induce a state o energetic repose, which is the idealcondition or reading

invite thereader into

the text

reveal the tenor andmeaning of the text

9

Light Condensed

Condensed

Bold Condensed

BlackCondensed

ExtraBlackCondensed

Bold Italic

Black

Black Italic

Italic

clarify thestructureand theorder o

the text

It should honor the text for its own sake - alwaysassuming that the text is worth a typographerstrouble - and it should honor and contribute to its owntradition: that of typography itself.

10

Light

Light Italic

Roman

Italic

Bold


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HP

5550


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frutiger

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