Studio Brief 02 - Typeface Design: Müeller Brokmann’s classic and lead typeface

In this session, we got given a Studio Brief based on one of Müeller Brokmann’s classic and lead typeface. Which is to create your own bespoke typeface, this should be effectively communicated your given adjective. Here my objective is to repurposing individuals shapes or letterforms as they should work in a number of different ways, this must have harmony, balance and a consistent sequence. So to begin this Brief I am going investigate each of Müeller Brokmann’s classic and lead typefaces. And consider each of the typefaces personalities/characteristics, if one typeface visually appear bigger and clearer, or warmer or darker in tones.

There are the list of different typefaces that I have researched:

• GARAMOND - Is a versatile serif font that has deep historical context, yet has a contemporary and harmonious design. Legible in a number of sizes, weights and languages, it was built for the very purpose of disseminating a complex and significant change of information.

• CASLON - Designed by William Caslon in the early 18th century, this typeface is part of a group of serifs typefaces. With short Ascenders and Descenders, this specific typeface has the purpose of fitting more characters on a page whilst at the same time leaving sufficient black space for aesthetics and eligibility. The italic form has a rhythmic calligraphic stroke that makes it easier to read when in a body of text. There is a moderately high contrast amongst the letterforms; this give the typeface a formal identity. The italic P,Q, V, W, and Z all have suggestion of a swash giving the font a hand-rendered feel.    

• BASKERVILLE - Created in 1754 by an illiterate, self-taught painter, Baskerville went on to considered one of the most legible typefaces there is. Due to its academic qualities it is used by many universities to make statements stranger and more believable. As Baskerville was a perfectionist, its crisp edges and embellishments and long running history make it a classic. It is considered an elegant, soft but strong, fine quality typeface. 

• BODONI - Bodoni designed by Giambattista Bodoni from 1740 to 1813. Taken from the word 'Drdone' meaning modern. This may seem strange now as it seems very traditional and ornate yet at the same time was extremely modern the bold graphic consistency and the fact each letter works together and would be easily reproduced. The type was designed as a transitional form between Fournier and Baskerville. During the years the type was designed in Italy when they were invading France and the country was in a period of transition the typeface feels Italian and could have been a statement of new times for Italy. I think it is important to consider who could read at the time (not many) and the fact the church would have  been the main source of written literature for the country at the time. The high contrast in stroke weight is recognisable feature of this type design and gives a grand and glamorous feel to the type. The typeface may have been designed for signage and for higher end companies given the large divide in class at the time. Bodoni could have been a typographic tool to show a new modern and classy typeface for a company or business. The 'Vita nova da dante' poem written in 1828 was an extremely popular Italian poem of the time and was one of the first wide spread publications to print Bodoni. The elegant and Graphic and bold letterforms echoed Italian design and set a bench mark for the future of Italian.   

• CLARENDON - A strong British type created to reflect the aspects of the Victorian British Empire. The think strokes melding into thick slab serifs and the fat ball terminals represent the hearty and unstoppable aspects of the British Empire. Clarendon's increased contrast, opening the counters, allows it to be used on short passages of text. 

• BERTHOLD (Akzidenz Grotesk) - Designed in 1896 and released in 1898, this typeface was created in the wake of the industrial revolution. Akzidenz meaning 'trade type' and Grotesk meaning 'Sans-Serif' its primary use in industrial advertising and large signage. The less rigid, geometric form of the type positively impact the legibility of the type and the many variations make it very versatile. To understated forms of the type, and the idiosyncrasies set it apart from other typefaces and make it perfect for statistical information with an emotional undertone. The typeface is also devoid of the political baggage associated with Russian constructivism and Bauhaus. Simple in a time that was far from simple width, making it the original Sans-Serif typeface.  

• TIMES NEW ROMAN - Times New Roman is a Serif Monotype creation made in 1931 for The Time news paper it was commissioned by the news paper as Stanley Morrison criticised the current type saying that it was badly printed and typographically antiqued. The font was drawn and developed by Victor Lardent an employee in advertising department of The Times news paper. People believed this typeface is based on an earlier original work by William Starling Burgees, this is controversial as The Times never credit Burgess' 1904 work as influence to there created Times typeface. There are variations of 'Times New Roman' and 'Times Roman' such as small serifs with more of a flourish on 'Times Roman', more italic style serifs added to the letters while 'Time New Roman' are more clear and straight. Although it is no longer used by The Times, 'Times New Roman' is still frequently used in book typography and many other publications, especially because of its adoption in Microsoft products, it has become one of the most widely used typefaces in history due to its legibility and directness. 'Times' was created in between a war time period, where newsprint was powerful and seen by near enough everybody. The typeface itself has lasted the test of time in fact that its purpose was built for physical print, but is still prominent modern day digital design. The Times paper was and still is strong standing and prominent paper British Culture.

     

• HELVETICA - Helvetica was created specifically to be neutral, not to give any impression or have any meaning in itself. This neutrality was paramount, and based on the idea that type itself should give no meaning. Designed in 1957 by a Swiss Graphic Designer, this was at the time when many companies were looking for a decorative typography that covered advertisements at the time. Still to this day it remains legible and versatile as you can use it in motion, one reason it's popular for signage and automaker and airline logos.  

• UNIVERS - Univers is a swiss designed Sans-Serif typeface. It is known for its legibility due to it being the first typeface to form a family of consistent designs. Due to its legibility it is used for a lot of signage in both Westminster and throughout Switzerland and in brands like Swiss Air and Ebay. In terms of design the typeface has quite a tall x-height which is quite common with San-Serifs fonts. It is quite a neutral design with a very subtle yet visible contrast in stroke. This slight contrast on stroke combined with curved terminals give the typeface a sense of uniqueness, making it different to more standard typeface. The added curves also give sense of friendliness which along with the legibility make it deal for its usage throughout UK tests and exams.