Müller-Blockmann's Typeface Manifestos

A blog post on the manifestos produced by groups in the class on Müller-Blockmann's 9 typefaces.

Group 1 (My group)- A versatile serif font that has a deep historical context, yet 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 range of information.

Group 2 - Designed by William Calson in the early 18th century, this typeface is part of a group of serif typefaces. With short Ascenders and Descenders, this specific typeface has the purpose of fitting more characters on a page whilst at at the same time leaving sufficient blank 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 gives 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.

Group 3 - Created in 1754 by an illiterate, self-taught painter, Baskerville went on to be considered one of the most legible typefaces there is. Due to its academic qualities it is used by many universities to make statements stronger 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. 

Group 4 - Bodoni designed by Giambattisa 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 easily be reproduced. The type was designed as a transitional form between Fournier and Baskerville. During the years the type was designed when Italy was 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 be the main source of literature for the country at the time. The high contrast in stroke weight is a recognisable feature of this type design and gives a grand and glamorous feel to the type. The typeface may have been deigned 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 a extremely popular Italian poem of the time and was one of the first wide spread publications to print in Bodoni. The elegant and graphic and bold letterforms echoed Italian design and set a bench mark for the future of Italian culture.

Group 5 - A strong British type created to reflect to aspects of the Victorian British Empire.  This thick strokes melding into thick slabs serifs and 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.

Group 6 - 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 is in industrial advertising and large signage. 
The less rigid, geometric form of the type positively impacts the legibility of the type and the many variations make it very versatile.  
The understand forms of the type, and 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; this is one of the first typefaces to have a fixed stroke width, making it the original sans serif typeface.  

Group 7 - Times New Roman is a Serif Monotype creation made in 1931 from The Times news paper as Stanley Morrison criticised the current type saying that it was badly printed and typographically antiquated.  The font was drawn and developed by Victor Larden an employee in the advertising department of The Times news paper.  People believe this typeface is based on earlier original work by William Starling Burgess, this is controversial as The Times never credited Burgess' 1904 work as an influence to their created Times typeface.  Times New Roman is still frequently used in book typography. Due to the 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 everyone.  The typeface itself has lasted the test of time in that its purpose was built for physical print and still prominent in modern day digital print design.  The Times was and still is a strong standing and prominent paper in British Culture. 

Group 8 - Helvetica was created specifically to be neutral, to not 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 Swiss graphic designer, this was a time when many companies were looking for a change as it was post war Europe.  It was the direct opposite of the fancy and 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. 

Group 9 - Univers is a Swiss designed 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 Ebay. 

In terms of design the typeface has quite tall x-heights which is quite common with san serif fonts. It is quite a neutral design with a very subtle yet inside yet visible contrast in stroke. This slight contrast in stroke combined with curved terminals gives the typeface a sense of uniqueness, making it different to a ore standard typeface. The added curves also give a sense of friendliness which along the legibility make it ideal for its usage throughout UK tests and exams.

Study Task 02 - Interim Critique and Type Manifesto

Interim Critique - a.m.

In today's interim critique I shared my preliminary research and initial sketches demonstrating my ideas regarding the development of my bespoke "faint" typeface. The feedback I received has undoubtedly affected the way in which I will progress with the production of my typeface.

Firstly, it was unanimously agreed upon that a sans-serif typeface choice would indeed be the most appropriate design decision in terms of a typographic style that would relevantly and successfully reinforce the idea of being "faint" via the restricted, un-decorative and stripped-back character qualities. 

I was then provided with feedback on the fine, light weight-of-line decision I was considering for the typeface, being that during the act of fainting a person is overwhelmed by darkness and feels heavy, despite being light headed. As I have never fainted myself, this was new information to me that I will use to produce a more informed set of letterforms. The group suggested I use a medium weight of line for a "happy medium" that best visually represented all the feelings experienced when fainting. 

All persons in the group also said that the idea of a gradual fade out was a really interesting concept that would work successfully in creating a bespoke, unique typeface aesthetic that would  communicate the adjective well through a distinct visual that would challenge interpretation.

Manifesto - p.m.

Taking into consideration the feedback I received this morning, and after exploring type specimens and their manifestos, this afternoon we were required to write our own manifesto for our bespoke typeface. By doing this, I will provide myself with a mission statement that will be able to direct and inform my practice in developing my letterform aesthetic throughout the design process. 

My manifesto is featured below:

"A sans-serif display typeface for use in contemporary, stylised design. The typeface provides a unique, unparalleled aesthetic - suitable for settings in which space is limited. The bespoke,  unorthodox characteristics of this font mean that whilst legibility is not it’s primary concern, the letterforms distinct visual make for a notable presence within a range of points of delivery."

Study Task 03

Drawing the Detectives.

Using developing understanding of colour theory and typographic design/usage, study task 03 requires the production of a graphic reinterpretation of a given Agatha Christie novel as part of The Guardians celebration of what would have been the authors 125th birthday.

My given title was Christie's "The ABC Murders." Having not read the novel, I took to researching the plot so that I could quickly develop an understanding of the narrative and what it entailed in order to be able to make appropriate, informed design decisions. Below is the short synopsis I found to influence my design, with highlighted details I found to appear crucial to the plot:

     "Hastings returns to Britain after a long absence to find Poirot anxious for a new case which will challenge his gray cells. Poirot quickly gets his wish in the form of taunting letters from a serial killer who has dubbed himself ABC and who leaves an ABC railroad schedule at the scene of each crime. The victims as well as the crime scenes appear to be chosen randomly, but maintain an obsessive adherence to alphabetical order. However, Poirot grows to believe that the killer is not the madman the authorities believe, but a methodical murderer with a very tangible motive."

My initial response to the synopsis was to research deeper into ABC railroad schedules, to find out what they were and discover their visual language.  I found that The ABC Railway Guide was a database of railway infrastructure in Great Britain, featuring timetable and travel information. The guides' front covers featured an abundance of advertisements, set in stylised outlines and boxes framing each individual piece of information. The information communicated through the guides' cover is delivered through only black, excluding the main point of importance - this being the "ABC" of the title - which is set in bright red to draw attention to here primarily. There are numerous typographic styles featured on the guide's cover, with a different font for each advertisement, bearing varied weights of line, tracking and styles including serif, sans-serif, script and old-style. The profuse amount of type styles featured here would undoubtedly challenge modernist Massimo Vignelli's views on the use of more than two typefaces within a design.

It was my desire to produce a cover that was reminiscent of an ABC Railway Guide through the compositional layout and use of colour, however taking on a more modernist approach in terms of type-usage theory. 

This redesigned cover clearly takes strong influence from the original ABC Railway Guide style, but instead features more cohesive spacing and white space between featured elements  of information for are more dignified aesthetic and ordered hierarchy. As on the Guide shown above, the redesign features varying box/framing styles around each point of information, being the author, title, identifiable character profile (Poirot), genre and original publish date to justify the cover's specific visual language. I chose to deliver the typographic information on the cover through two juxtaposing type styles, being the sans-serif Futura for a more contemporary aesthetic - and serif type Baskerville in establishing the age of the timeless novel, as well as forming a connection to the original visual language of the Rail guide. Using the same black and neutral colour palette as the original guide, with small additions of red to add emphasis to key information on the cover - being the "ABC" notion the entire novel is built on through the killer and rail guides, and also the genre for ease of identification.

Although I felt that I had produced a well-informed cover that successfully communicated the cover's information through an appropriate and relevantly designed visual language, there was something about this cover that prevented me from being satisfied with the outcome. I believe it may  have been the lacking visual presence of authenticity that is so clearly identifiable in the original ABC Railway guide, and so I reconsidered my approach to the task.

I decided to maintain the connection the plots concern with the rail network, instead opting for the use of a perspective train track - suggested through horizontal and vertical lines - as a grid to create a new setting for the cover's information. 

My second re-interpretation of the cover features the said perspective-view track ordering information and directing the gaze from the top to the bottom of the composition via the horizontal lines present. I featured the track in black, delivering all typographic information through off-white type for a softer tonal energy, still with strong contrast for impact, that would be less intense for the eyes to perceive. I again chose to deliver the majority of the type through Futura  for a more current, contemporary feel to the book showing the timelessness of Chrisite's novels as they continue to exist in modern society. I also featured the typeface Courier to establish a greater connection to the letters written by the ABC killer, written on a typewriter before being sent to Poirot - appropriate in that this typeface was designed to resemble the output from a strike-on typewriter. I decided to feature all the above information on an intense, bright red to communicate the suggestion of murder, blood and danger - as well as to mimic the colours of the ABC Rail Guide.

I believe this cover features a visual language that is more successful in its implication of Christie's plot that would be picked-up-on by a greater volume of people, who would not necessarily have been able to identify with the original Rail Guide-reminiscent treatment. Reaching a greater audience through again considered and informed design decisions, this cover I believe relevantly suggests elements of the plot that would create intrigue from the cover alone. This is the cover I have submitted to the Guardian's page. 

Studio Brief 02 - Development

Following my preliminary research and exploration of theory, I decided to produce some thumbnail sketches illustrating ideas I have for my own bespoke typeface in communicating the word "faint."

My initial ideas and concepts include light weight of line letterforms, integrated theory and also a gradient fade-out. Thumbnail images are evidenced below:

The majority of the illustrated ideas above are communicated through a fine, light wight-of-line - appropriate in communicating the light-headedness experience during the loss of consciousness during the act of fainting. The extra-light line style creates an indistinct aesthetic, relevant in the visual communication of weakness of consciousness. 

Another concept I have considered for my bespoke typeface are letterforms, which using theory explored and justified previously, fade-out through graduated tone towards the bottom of the characters, producing type that is only identifiable through its upper-sector, yet still legible. 

Also featured in the above sketches are thoughts on stylised characters to represent confusion, dizziness and obscurity - all associated with fainting, those these may over-complicate  the visual perception and cause readability concerns.

These sketches, alongside my primary research and exploration of theory, will be shown in friday's critique so that I am able to receive constructive feedback on how to develop my typeface from here.

Studio Brief 02 Research

Considering my adjective of "faint" and its connotations of being "barely perceptible," "ill-defined" and "obscure," in conjunction with the state of confusion associated with the physical act of fainting, today I explored and researched some theories as a starting point to drive my design process forward.

I initially looked at the alleged Cambridge University study on the human eye and minds' ability to be able perceive words and read full sentences so long as each word, alone or within a body of text, starts and ends with the correct letter. The supporting image is documented below:

Having viewed this image previously is class, and the vast majority be able to read the above paragraph, this theory could be used in communicating the confusion and loss of consciousness and sharp-mindedness experienced in the act of fainting - something to consider in the presentation of the finished bespoke typeface.

Another theory I looked at, although there was little-to-non evidence to be found online, is the said ability for the mind to perceptually perceive words and letters through only their upper-half as a result of the distinct and varied character forms evident in lower-case letterforms. As a result of the lacking supporting evidence online, I produced the sheet below before asking a number of people to try and identify and justify this theory - covering the top half first, followed by the bottom half:

Through this primary research it was confirmed that the theory is intact legitimate, with all those asked able to identify the word "faint" from its upper-half characteristics, with no person able to identify the word from the bottom. 

I believe this theory may provide me a unique concept for the creation of my bespoke typeface that would allow me to produce a series of letterforms completely unparalleled to those which exist in industry as I write this.

Studio Brief 02 - Typeface Design - Brief Interpretation and Initial Research

Studio brief 02 requires the creation of my own bespoke typeface, which should effectively communicate my own given adjective. The typeface should be based on one of Müeller-Brockmanns classic and lead typefaces, these being:

• Garamond 

• Caslon 

• Baskerville

• Bodoni 

• Clarendon 

• Berthold

• Times

• Helvetica 

• Univers

The objective of the brief is to re-purpose letterforms to work together in endless combinations in a harmonious, consistent sequence.

The adjective I was given was "faint." My first step in the production was to research and establish the meanings of the word and those that are associated with it. These are evidenced below:

"Faint"

Adjective

1. (of a sight, smell, or sound) barely perceptible.
    "the faint murmur of voices"
Synonyms:

indistinct, vague, unclear, indefinite, ill-defined, obscure, imperceptible, hardly noticeable, hardly detectable, unobtrusive.

2. Feeling weak and dizzy and close to losing consciousness.
    "the heat made him feel faint"

Synonyms:
dizzy, giddy, light-headed, muzzy, weak, weak at the knees, unsteady, shaky, wobbly, off-balance, reeling;

1. 
   

   • 
     

     
     
   •  "the heat made him feel fain

Verb

1. lose consciousness for a short time because of a temporarily insufficient supply of oxygen to     the brain."I fainted from loss of blood"


Synonyms:

pass out, lose consciousness, fall unconscious, black out, collapse.

Noun

1. a sudden loss of consciousness.

"she hit the floor in a dead faint"

Synonyms:

blackout, fainting fit, loss of consciousness, collapse.

Having looked at Müeller-Brockmanns typefaces and exploring the meanings and connotations of faint, I have come to the conclusion to explore only the sans-serif typefaces - Helvetica, Berthold and Univers - for use in the production of my typeface as I believe the decorative aesthetic of serif-typefaces would be in-appropriate in the communication of "faint" for the following reasons:

• In theory of legibility and readability, serif typefaces are said to be more easily perceived and so would be unsuitable for use in visually communicating a word that denotes imperceptibility and vagueness.
• In the act of fainting, a person loses control of their self - resulting in a loss off consciousness - they are not in a state of grace - as would be suggested by the use of a serif typeface. 
• In fainting, there is a loss of consciousness, sight and clear mind - making a un-embelished, stripped back to simple sans-serif letterforms the most appropriate direction for the bespoke type.

I will use my above findings and justifications as justification throughout the development of my typographic treatment.

Studio Brief 01 - Final Critique

In today's final critique, I shared my two developed logotypes for studio brief 01. The response on which was most successful was split as the two were so different in terms of typographic style. Some believed the serif resolution was more successful as it looked "more sophisticated," and some believed the hand-rendered sans-serif was more successful as it felt "more bespoke." All comments identified the exclusivity present in the design also, which was imperative to the establishment of the rebrands. I too find it hard to identify the most successful as each has a different visual approach, however still communicate the same ideologies and are informed by the same research.

It was unanimously agreed that the "The Bank of Choice" tagline undoubtedly enhanced the logotype, which was key in that it represented HSBC's goals for the future. It was also said that this aided the reassurance of the bank still being secure, successful and prominent within the banking sector.

A major point of un-success in todays critique actually came from the colour print-quality of my final resolutions, which appeared blue instead on purple, causing confusion amongst my peers around my work and justifications. This is something I will ensure is resolved for the next critique. 

Studio Brief 01 - Production

For this "Premier" logotype, I wanted to explore the use of initially hand-rendered letterforms that would create an identity with an enhanced level of exclusivity via the use of bespoke characters, and also a more personal aesthetic to represent the personalised services the bank offers its customers.  

I began by drawing a typographic grid on my layout-pad, consisting of a baseline, x-height, cap height and lines to keep a persistent oblique slant to add a visual emphasis to the logotype.

I then began to draw out my desired logotype in pencil, outlining the letterforms before lightly filling in for extra definition when producing the next layer.

I attempted to optically kern each letterform as I progressed through the logotype, which I somehow deviated from when starting the second-to-last letter -  identifiable in the above image. It was my plan to rectify this when producing the next pen-layer. 

Once I had completed the above pen-layer of the "Premier" logotype, I scanned in the sheet before importing into adobe illustrator for precision editing, clean up, and resolving the kerning. I wanted to supply the logo type with a standard tracking and kerning, keeping the letters relatively close together for distinct readability/legibility and a strong, unified-whole aesthetic reflecting the dominance of the bank in the financial sector. 

The above image shows the initial "perfected" Premier logotype before colour treatment. I believe the bespoke treatment I have created attains an evidently hand-rendered aesthetic, and therefore an enriched level of personalisation, reflective of the personalised services available at the bank. Although the letterforms are sans-serif, the oblique visual language evokes a sense of emphasised exclusivity and suggestion of the bank being as it is named; Premier. The combination of lower-case sans-serif and oblique quality featured in the letterforms instills an understated contemporary elegance in the logotype, modestly delivering the importance of the company at the top of its sector.

I then changed the logotype to white, and supplied a deep, rich purple background. I did this to create a tonal contrast to elevate the energy of the design, and also as the eyes are instinctively drawn the the lightest part of an image - making "Premier" the primary focus - as the bank is within the financial sector. The purple enhances the logotype due to its connotations of nobility, ambition, and wealth, all of which are traits of both the bank itself and the customers they wish to attract. Also, this is a colour un-used by any of HSBC's competitors, meaning the distinction and singularity of the company will remain within the banking sector.

Next, I added the slogan to enhance the success of the logotype through its influential and suggestive presence, convincing in its communication that Premier is and will continue to be "the bank of choice" - as desired by C.E.O Antonio Simones. 

The slogan is featured in an all upper-case, sans-serif Helvetica Neue to extend the contemporary aesthetic of the logotype whilst contrasting to the lower-case bespoke type above. I added a bold emphasis to the word "bank" in order to enhance the prominence of the sector - allowing for the eyes to initially read "Premier Bank" before the gaze returns left to consume the slogan in its entirety. 

My next step was to consider how this logotype would feature as signage on the outside of the banks, for which I decided would be backlit letterforms, emitting a crisp white glow - further enhancing the sense of exclusivity and prominence of the bank within the financial sector, and street the bank is on. To try and emulate this effect, I added a soft white glow to the logotype - illuminating the immediate ground behind it.

My final endeavour in this logotype production was driven by the thought of younger, working professionals who are becoming more prominent in the banks customer profile. The banks personal services are almost all replicated through express banking machines and digital platforms for these persons who are on the go. I believed the bespoke letter P lent itself to the integration into an mobile app format, keeping the bank at the forefront of leading the sector.

Studio Brief 01 - Production

For this treatment, I wanted to produce a strong, upper-case serif logotype that communicates wealth, importance and enhanced exclusivity through an aspirational aesthetic. 

I began by searching for a typeface that had a distinct visual language that I could manipulate to best communicate the "Premier" identity. The typeface I found was Foglihten Petitecaps. This typeface features larger counters and bowls, creating a fuller-aesthetic and greater sense of power, suitable for the communication of the largest, most dominating UK bank. I believe for the use of the Premier identity however, the original state of the letterforms appear over-embellished with unnecessary serifs, gaps and shaping. It was my desire to strip-back this typeface to a much more dignified set of characters, as the bank does not need to overcompensate for anything. Below is the process I went through in achieving the standardised logotype:

The process involved extending lines, removing over-embellishments, re-shaping and finding a kerning solution to the problem caused by the leg of the R next to the E. The solution I found was to extend the leg of the R down below the baseline and remove one of the serifs found on the bottom horizontal bar of the E. In doing this I believe the characters have been instilled with a more bespoke-looking aesthetic, which in turn makes the logotype appear much more exclusive and therefore appropriate for the rebrand - considering C.E.O Antonio Simones' aims for the company. 

Having previously established purple as the most suitable colour for the communication of the new bank logotype as a result of its connotations of nobility, power, ambition and wealth, I then turned the logotype type white before setting it on a purple background. By featuring the white type within dark ground, the eyes will instinctively be drawn to the bright letterforms. 

I then supplied the slogan to enhance the success of the logotype through its influential and suggestive presence, convincing in its communication that Premier is and will continue to be "the bank of choice" - as desired by C.E.O Antonio Simones. I have chosen to feature the slogan in red in subtle homage and connection the the previous HSBC identity, as well as the harmonious visual created between purple and red. The slogan is featured in an all lower-case, sans-serif Helvetica Neue to supply a contemporary aesthetic to the logotype whilst contrasting to the upper-case type above. I changed the word "bank" to upper-case for a bold emphasis to the word in order to enhance the prominence of the sector - allowing for the eyes to initially read "Premier Bank" before the gaze returns left to consume the slogan in its entirety. 

As I renamed HSBC using an established sector of its business for ease of identification and establishment after the rebrand, here I have extended the purple and red visual language to illustrate a possible compensation to the now nameless sector. I have re-named what was the premier sector of HSBC to "elite." This way, the company are still able to supply a more tailored service to specific qualifying customers - who instead of receiving a "premier account" - will receive an "Elite account."
I featured the type in  the upper-case, sans-serf Helvetica Neue typeface. The red upper-case type forms cohesion with the upper-case logotype, whilst its sans-serf quality creates contrast. The word elite and its styling here further enhance the exclusivity of the aesthetic.

The Whitney Museum of American Art

The Whitney Museum, 2015.

In 2011, graphic design studio Experimental Jetset were approached by The Whitney Museum of American Art to design their new graphic identity. They were asked to create a new visual language that the Whitney’s in-house design team could work with thereafter. The redesign was carried out in 2013 in preparation for the museum's move in location from the ‘Breuer building’ at Madison Avenue to a new location - a museum designed by Renzo Piano - situated at the beginning of the High Line. By redesigning in 2013, the museum could introduce and establish the new Whitney identity well in advance of the move, which happened this year (2015)

The W-shaped grid.

Experimental Jetset's concept for the new Whitney identity was the ‘Responsive W.’ The idea concerned itself with a W-shaped construction platform for all kinds of text, a flexible grid of sorts. The thin line was described as an invitation to activity and interactivity – "it represents an area that needs to be signed, that needs to filled-in (or filled-out)." They wanted to produce an identity that could be interacted, engaged and connected with that represents "a blank canvas" for artists to put their signature  on, be that via previous works or future works; The identity is to be open to things-to-come.

The redesigned WHITNEY identity.

As a group, we believe the WHITNEY visual identity is contextually informed as if reflects the structural architecture of the new museum exterior.  This enhances the identity through it's bespoke concept and considered visual language.  Also, the interchangeability of the design allows for ease in terms of reproduction and adaptation.  Contrary to this view, we feel that on a practical level the identity is restrictive, dominating and rigid in its communication visually.  Although the designers produced the identity with a "need to be signed or filled", the visual functionality is limited when presented as a stand-alone image.