you know when your trying to do your blog homework and you just end up bopping around to random blogs? heres a fun one i found http://www.swiss-miss.com/fonts/page/3

the HOEFLER TEXT

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designer: Jonathan Hoefler born in 1970



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typeface created in 1991

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Serif, old style

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transitional serif (sorry i lied before!)

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examples of transitional

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1991 -

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His work has included typefaces for the magazines Rolling Stone (The Proteus Project) and Sports Illustrated (The Champion Gothic family) and for Apple (the Hoefler Text family) 9.

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Jonathan Hoefler
Jonathan Hoefler refers to himself as an 'armchair type historian' but many know his name from his typeface designs, mainly the Hoefler Text. Named one of the forty most influential designers in America by I.D. Magazine, Hoefler's publishing work includes award-winning original typeface designs for Rolling Stone, Harper's Bazaar, The New York Times Magazine, Sports Illustrated, and Esquire.
He was born in New York in 1970 where he always had a passion for type and typography. Instead of taking the traditional college route after highschool, Hoefler went straight into the workfield as a graphic designer. He found that graphic design didnt fulfill his love of type research or writing so he decided to create his own foundry, The Hoefler Type Foundry. Much of Hoefler's work has been influened by metal-found type. With inspiration from classical typography, his foundry brings together his fascination with the history of the craft with the creative aspect of designing new typefaces. Hoefler refers to his own work with type as 'experimental' The Hoefler Text was another type that he considered experimental but more in terms of technology. The Hoefler Text is now appearing everywhere as part of the Macintosh operating system. Hoefler's work has been exhibited internationally, and is included in the permanent collection of the Cooper-Hewitt National Design Museum (Smithsonian Institution) in New York. In 2002, The Association Typographique Internationale (ATypI) presented Hoefler with its most prestigious award, the Prix Charles Peignot for outstanding contributions to type design. Hoefler and Frere-Jones' collaboration has earned them profiles in The New York Times, Time, and Esquire.


Whats so Special about the Hoefler Text? When Jonathan Hoefler founded the company in 1989, few of the great type foundries had embraced electronic publishing and those that had were just beginning to remaster their most famous fonts for use on personal computers. Because they were just beginning to put digitalize type, they converted the most basic ones first. Digital type offered the potential for fonts to be not merely as good as traditional ones, but demonstrably better than anything that had gone before. Hoefler Text, designed in 1991, was impressive because it was an amazing looking font compared to others that were being digitalized at that time. Hoefler Text revived a number of other traditions that had once been central to fine printing: extended ligature sets, the engraved capitals of the early twentieth century, and the arabesques of the renaissance. Hoefler Text even invented a few traditions of its own, such as case-specific punctuation and italic small caps, and worked to expand the reach of digital typography beyond the United States by including a wealth of foreign symbols and accents. Hoefler Text’s caught the attention of the developers at Apple, where the technology “TrueType GX” was being created. Their goal was to make fine typography not only available to everyone but easy to use as well. Apple commissioned him to furthur expland the font and liscenced Hoefler Text to be included in the System 7 Macintosh Operating System. Even though GX never became a successful font format for designers, it did fulfill its original promise of turning Hoefler Text’s “advanced features” into a new baseline for digital typography. In the years since, small caps and old-style figures have become standard issue with the best text faces from all of the world’s great type foundries

characteristics of Hoefler Text
- medium contrast stroke width (A)
- subtly curved stems (hn)
- concave serif base with rounded ends to serifs (h)
- spur foot (b)
- high bar (e)
- full height ascender (f)
- crossed 'V's in the W
- serifed apex (w)
- single slightly stepped junction at stem (k)
- curved tail from center of base (Q)
- short triangular ascender (t)

The hoefler text has a unique inspiration in the range of its different styles and weights but still keeps a coherence between the 27 fonts including small caps, swash small caps, and swash italics. The letterforms are uniformly balanced making it a versitile text face. A tiltling face (for use at 36 pt. and above) was added to the family in 2002.

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“The worlds greatest typefaces, are quickly becoming some of the world’s worst fonts.” - Jonathan Hoefler
(during a time when type was just becoming digitalized, brought old styles to the new digital typeworld)

we just had to listen to Hoefler talking on "Please Explain: Typography" a few weeks ago for type
http://fontfeed.com/archives/please-explain-typography/



from... http://www.swiss-miss.com/2008/10/for-america-by.html
"This summer, the Obama campaign commissioned Jonathan Hoefler to design a typographic poster for the Artists for Obama series. It’s now available from the Obama for America website, in a numbered edition of 5,000."

peacocks

In general my peacocks are going good. After my individual meeting i realized i had a lot of little things to fix and a few needed to be completely redone, like my behavior characteristic one. Overall i think i just need to start simplifying them and make sure all the marks are there for a purpose.

Font Classification

Font Classification: a system to classify typefaces; based on a historical approach (classics, modern and others)

Old Style
– 1475
– based on handwriting
– contrast between thick and thin strokes is more pronounced
– slight diagonal stress
– shorter x-height
– scooped serifs, sturdy without being heavy
(also called Gerald) generally considered "warm" or friendly
-main characteristics: low contrast with diagonal stress and cove or "bracketed" serifs
-Bembo, Carlson, Garamond

Transitional
– 1750
– contrast between thick and thin strokes is more pronounced
– very slight diagonal stress
– bracketed serifs
– tall x-height

Baskerville, Caslon, Perpetua

Modern
Modern typefaces came about with copper and steel engraving techniques in the 17th and 18th Century. The appearance is technical exact. Modern types are named Didone after Didot and Bodoni, radically abstract, the thin, straight serifs; vertical axis; and sharp contrast from thick to thin strokes.

– 1775
– extreme contrast between thick and thin strokes
– flat unbracketed serifs
– hairline serifs
– no horizontal stress
– mathematical construction /measurements
– no influence by handwriting

Bodoni, Bauer Bodoni

Slab Serif
classified in serifs, their defined by their thick square-ended serifs.

– early 1800's
– mono weight
– square ended serifs
– no stress
– bold machine like (industrial age/industrial revolution)
– uniform serifs
– bold display font (used at large sizes)
– rectangular
– geometric impact

Serifa, Rockwell, Memphis Clarendon

Sans Serif: Geometric
Sans-serif typefaces influenced by the Bauhaus movement and featuring circular or geometric letters, with little variation in stroke thickness.

Futura, Foilio, Gotham, Avant Garde

Script
like handwriting, script letters are infinitely differnt; strive to translate fluid and imperfect mark you get with pen on paper
-can be catagroized formal or casual, flowing vs. nonflowing, or tool used
- Bickham Script, Sonora, Choc

Blackletter
one of the most used and versitile typographic choices
-newspapers, labels, used for more than 600 years
- gradual and diverse evolution from the hand crafted scribes in the 19th century
- Fraktur, Rotunda, Textura

Grunge
scratchy typefaces, (early 1990's-2000's) - parallel to Grunge music movement
- no clear definition but share a jarring aesthetic and philosophy that contrasts with conventional classic typography
- dead history, Fallen Thyme, Turbo Ripped

Monospaced
-cue from typewriters where all letters conform to a specific physical width, resulting in letterforms that must expand or condense to make the best use out of the space - also known as "nonproportional" in contrast to normal typefaces, where each character has a differnt width.
- spaced perfectly even
- odd spacing, unusual letterforms, futuristic letterforms
-Courier, Orator, Ocr A

Undeclared
-two typefaces, optima and Copperplate gothic are uncatagorized with their flared serifs attached to san serif structures

Stefan Kanchev

http://stefankanchev.com/en/other.html

dont be scared...social media is our friend

http://www.youtube.com/watch?v=fVXKI506w-E

Representitives of Letterforms

The Font Bureau, Inc.

The Font Bureau, Inc. was founded by Rodger Black, a publication designer, and David Berlow, a type designer in 1989. Black started his own business focusing on designing newspapers and magazines and that same year they both founded The Font Bureau. Today the foundry's output has balooned to more than 1,500 typefaces. Just clicking through their website http://www.fontbureau.com I found they had many unique fonts and tons of variation from san-serifs to more original fun fonts. Some examples i found were...

Empire: designed by Morris Fuller Benton in 1937 and used as the headline style for VOGUE magazine and revived by David Berlow in 1989 for Publish magazine.


Sloop: designed by Richard Lipton, inspired by the calligraphic work of Raphael Boguslav




Barcode: 5 part series, very condensed design where all the styles are the same weight while the form of the typeface is varied by style or size. in each new font the characters are not wider but taller making the font good for stacking and placement

Emigre

In 1985 Rudy VanderLans' Emigre magazine was completly typefaces designed by his wife Zuzana Licko who was breaking ground with the emerging technology of digital desgin and developing typefaces through the Macintosh. In 1986 the magazine gained promience and they established Emigre Fonts. Because most designers werent working on the computer yet, when designers requested a particular font, Licko would print the font, reduce it with a photostat camera, and mail it to the designer (its easy to hate technology after you feel like youve been staring at a computer screen for weeks... this reminds me why id rather live with them than without them... ) Only later in the late 80's and 90's did Emigre distribute their fonts with floppy discs. in '94 Tim Starback, staff member at Emigre, made an online bulletin board, Now Serving, that allows users to purchase and download fonts, which is now the standard universal method.

On the Emigre website http://www.emigre.com/fonts.php if you go to typetease your able to select and view the types you are interested.

The font Mrs. Eaves intersted me because it was created by Zuzana Licko co-founder of Emigre, together with her husband Rudy VanderLans.

Underware ( i may have chosen it because it was named underware...)

Akiem Helming, Bas Jacobs, and Sami Kortemaki met at the Academy of Arts in The Hague, in the Netherlands and then began a studio in 1999 devoted to typography, which they named Underware. Their quirky name goes along with their huge range of unique fonts and fans far and wide. Underware gets really imaginitive and creative (ex. a typefont that can only be seen if your in a sauna due to the material and ink used) they also host a traveling radio show TypeRadio where they conduct one on one interviews. Their website seems so much more creative and imaginitve than other fonts.

i enjoy using ink to write things because of the originality and varied shape of line you get. I LOVE this new Underware font that i found on the website http://www.underware.nl/site2/index.php Liza, lettres d’amour

the website says... "Liza Pro is a live-script typeface. Thanks to its extremely intelligent OpenType arcitecture, she approaches human hand lettering as close as technically possible. Liza Pro deeply analyzes the text. Out of a stock of over 4000 hand crafted characters, Liza creates the most optimal combination. All of this works automatically."

Adrian Frutiger

Adrian Frutiger is best known as a type-designer. He has produced some of the most well known and widely used typefaces such as Univers and Frutiger. Born in Switzeerland in 1928, Frutiger worked as a printers apprentice at the age of 16 then soon after went to Zurich to study under professor Walter Kach at The Zurich school of Arts and Crafts. He moved to Paris and began work at the Deberny & Peignot typefoundry, helping move classic typefaces used with traditional printing methods to newer phototypesetting technology. He also began designing his own typefaces during this time. Univers was designed and released in 1956-1957. It is a sans serif that features optically even stroke weights and a large x-height for legibility. It is known for the variety of weights and set-widths included in the family. When it was designed it inclueded 21 variations and it was the first type family to implement a numbering system instead of using names. With over 27 differnt variations today, Univers is a very diverse typeface that can work well at large displays and small displays.

its never too late to learn about Mr. Baskerville...

John Baskerville, born in England in 1706, was a stonecutter, letter designer, typefounder and printer. Mostly known for the creation of the font 'baskerville' he is also known for his innovative tecniques and transforming English printing and type founding. Along with Carlson, Baskerville is considered one of the greatest type designers of the 18th century. He began his work as a printer in 1757 and 3 years after became a printer for the University of Cambridge. Baskerville didnt complete his first book until 1757, but during that time he made many innovations in press construction. His success came from using a flatter, sturdier bed, printing ink that was more defined, dried quicker, and was blacker and darker. These along with his creative letter designs, cut by his punchcutter John Hardy, resulted in the success of his original typefaces and popular books from 1754 to 1755. His type faces introduced a modern style with large type, wide margins, and the eye catching contrast of his very white page to the dark black text. His masterpiece was a Bible printed for the University of Cambridge published in 1763.

VC reading 1

Ive always had an idea of my job including art but i was unsure about what kind of job that would be. Graphic Design is so hard to understand or explain until your actually doing it, so I was a little apprehensive whether or not it would be for me. So far my graphics classes keep exceeding expectations. The more i read about graphic design the more i realize it is exactly what i want to do; everything about it interests me. The first reading explains the relationship between the graphic designer and its audience. In my english class we are reading about reading as an experience; the reader activly participating in what the author's message was and interpreting it how they intended while bringing our own personal experiences to the table. It is just fascinating to me how these two articles go hand in hand. As graphic designers we are trying to convey a specific meaning to a certain audience and hopefully the audience walks away with the thought we wanted them to take away from our art.