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ALYSSA RAMSTETTERFORM &CONTENTWHAT IS SHOWN IS WHAT IS SAID



CONTENTFORM &



ALYSSA RAMSTETTERFORM &CONTENTWHAT IS SHOWN IS WHAT IS SAID



CONTENT v Introduction vii 1 Historical Synopsis of Baskerville 1 2 Space 9 3 Structure 15 4 Form and Counterform 20 Bibliography 58 Index 60

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INTRODUCTION viiWithout rhythm there would be no life,influence, forests, cornfields and thethere would be no creation at all. Eachcreature passes rhythmically throughshifting sands move in rhythm. Theaits stages of growth; under the wind’sadvent of the machine has broughthome to us again the value of a work-ing rhythm, and we know that the healthof the worker, his mental equilibrium,depends on his working in rhythm. Ev-ery shade of rhythmic awareness can horizontals, sloping elements, starts andbe seen reflected in works of art down finishes work together to produce athe ages. And in the twentieth century rhythmic pattern. There is an abundancein particular, artists have again become of rhythmic values in an ordinary piece ofalive to the significance and power of composition: ascenders and descenders,rhythm in design. round and pointed forms, symmetry and asymmetry. The word spaces divide the In typography there are many op- line and type matter into words ofportunities of working with rhythmic unequal size, into a rhythmic interplayvalues. Take a typeface for instance. of varying lengths and values of dif-The straights and curves, verticals and ferent weight. Break and blank lines also add accents of their own to the pattern of composition, and finally the graded sizes of the type are another excellent means of bringing rhythm into the typographer’s work. If a simple piece of text is well composed, it will of its own accord give the work a rhythmic appeal. The format of the paper is anoth- er rhythmic pattern, whether it is the symmetry of the equilateral square, or

viii the stressed rhythm of the edges and sides of the rectangle. The typographer has endless possibilities of creating rhythms by the way he disposes his composition on the page. The shape of the composition can harmonize or contrast in its rhythm with the format of the paper. In designing composition, the typog- rapher should examine every possible means of getting away from the rigid sys- tems of dull repetition, not merely for the sake of vitalizing the form but also in the interests of legibility. —Emil Ruder Typographie 1967



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CHAPTERONE 1

2 CHAPTER ONE HISTORICAL SYNOPSIS OF BASKERVILLEThe typeface Baskerville was devel- thick serifs and edges. The design wasoped and designed from 1750-1757 by sharper and more vertically structuredJohn Baskerville, who was a printer for a more sophisticated style. The twofrom Birmingham, England. After re- fonts hold significant resemblance buttiring from years of teaching writing and have noticeable differences. Caslonworking in japanning, John Baskerville used a more rigid style on his serifsbegan professionally printing in 1750. He while Baskerville’s serifs were round-used his abundance of personal funds ed and gradual—presumably becausethat allowed him to take his time in his he thought that would be easier for thework. He had a passion for perfection human eye to encounter.and cleanliness; being very particular inhis designs and craft. When moving his John Baskerville’s creation is classi-passions fully into the development of fied as a Transitional typeface, fallingletters and type, he strived to create the into this category because of its wide,perfect letterform. structured serifs, significant weight contrast, and large x-height. Because His development of Baskerville Baskerville created a typeface withwas inspired by his desire to improve a such thin lines and advanced contrasttypeface called Caslon. He pushed the in line width, it was not possible to du-contrast between the strokes, creating plicate with the technology of the time.smooth transitions from thin strokes to His style had surpassed the standards of the traditional printing press and1. JONES, KEITH. \"BASKERVILLE\".2. \"JOHN BASKERVILLE, TYPE-FOUNDER AND PRINTER.\" CAMBRIDGE LIBRARY COLLECTION. 27 SEPT. 2014.3. FERGUSON, COLE. \"JOHN BASKERVILLE.\" NC STATE UNIVERSITY: HISTORY OF GRAPHIC DESIGN.3. FAMILIES OF TYPE: TRANSITIONAL.

3he had to adjust to the new standards “transitional” for their classification.he created. He created a sturdy, metal Baskerville itself was not veryprinting press, which allowed for moreprecise, clean printing. He worked with popular in its beginnings, and didn’tpaper and ink to create whiter whites really find popularity until after Basker-and blacker blacks to perfect the print- ville’s death. It wasn’t until the early 20thing process. His strive for perfectionism century when Bruce Rogers, an Amer-allowed for him to be credited as being ican typographer, was in a bookstorea large part of the development of new in Cambridge and noticed the eleganceprinting press technology in the 1700s. of Baskerville within a book. In 1917,Transitional fonts are very reflective of he recommended that it be used atthe technological advancements of the Harvard, sparking a grand revival oftime, as printing presses became higher the typeface and brought interestend and wooden letter pressing was be- within the United States.coming a thing of the past. In the early16th century, in the reign of Oldstyletypefaces like Bembo and Centaur,typefaces like Baskerville led the wayto more updated styles and transition-ing into a more structured and cleanstyle of lettering, thus earning the name

4 DEFINING CHARACTERISTICS OF BASKERVILLEDESCENDING DOUBLE SERIF ‘C’ NO MIDDLE SERIF QUPPERCASE ‘J’ Cc Ww Jj\"English printer and typographer John Baskerville established [the Transitional] stylein the mid 18th century. These typefaces represent the transition between old styleand neoclassical designs, and incorporate some characteristics of each. Baskerville’swork with calendered paper and improved printing methods allowed much finercharacter strokes to be rewproduced and subtler character shapes to be maintained.While the axis of curve strokes can be inclined in transitional designs, the strokes nor-mally have a vertical stress. Weight contrast is more pronounced than in old style de-signs. Serifs are still bracketed and head serifs are oblique.\" — Fonts.com

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6 DIAGONAL BRACKET baske BLUNTED SPUR

7ROUNDED TERMINAL DOTervilleWEIGHT CONTRAST LARGE X-HEIGHT



CHAPTERT WO

10 CHAPTER 2 SPACEIn typographic design, typographic ele- ganization of elements. The shape of thements and two-dimensional space interact negative space always develops from thewith one another in a figure/ground re- composition of these elements.lationship. This relationship between ty-pographic form and its background is fun- Space has two fundamental charac-damental to design. Equal consideration teristics: size and proportion. Rectangularmust be given to each: the interaction space and square space are delineatedbetween them is mutual and mutable. by two horizontals and two verticals, which determine its size and proportion. Space is the common ground for A square, because of its equal horizon-all elements; it provides a frame of tal and vertical delineations, is visuallyreference and significantly affects the ex- neutral. A rectangular space has spe-pressive qualities of the elements placed cific visual forces —horizontal space iswithin it. Depending on their place- passive, vertical space is active.ment within a given space, the same ele-ments will assume different visual aspects —Willi Kunzof weight and movement. The visual Typography: Macro andexpression of space is determined by Microaestheticsboth the characteristics and the place- 1998ment of elements within it. Space is visually subdivided by thetension that develops between an el-ement and the boundaries of space.Inherent in every text, typeset orhandwritten, is a basic shape that isdetermined by the size, spacing, and or-

11IN TYPOGRAPHIC DESIGN, SPACEIS DEFINED BY TWO HORIZONTALSAND VERTICALS, WHICH MAY BE THEEDGES OF A PAGE OR A FRAME. FORM & CONTENT WHAT IS SHOWN IS WHAT IS SAID

FORM & CONTENTWHAT IS SHOWNIS WHAT IS SAID FORM & CONTENT WHAT IS SHOWN IS WHAT IS SAID

SPACE CAN BE IMAGINED WITHOUTELEMENTS, BUT ELEMENTS CANNOTEXIST WITHOUT SPACE. SPACE PRO-VIDES THE FRAME OF REFERENCE FORTYPOGRAPHIC ELEMENTS. IN SPACE,THE SIZE OF THE ELEMENTS BECOMESRELATIVE: TWO IDENTICAL ELEMENTSAPPEAR DIFFERENTLY DEPENDINGON THE SIZE OF THE SPACE THEY AREPLACED IN.



CHAPTERTHREE

16 CHAPTER 3 STRUCTUREA fundamental structure is inherent other elements need to be adjusted,in all typography. Even a single word either in placement or size, to balance theor line of type placed on a blank sheet composition. Since there are virtually noof paper subdivides the space and limitations to the arrangement of a givencreates a simple visual structure. Be- set of typographic elements, this visualcause a structure is always present to structure is essentially on open system.some degree, it serves as a powerfulelement in design. Typographic design based on em- pirical criteria is a personal expression Typographic design can proceed of the designer, and demands creativity,from two types of structure: an optically sensitivity, intuition and judgment. Toimprovised visual structure, or a predeter- maintain design integrity, the designermined structure—the grid system. must be constantly involved throughout the entire design and production process. An optically improvised visu- This improvised visual approach can yieldal structure results from arranging interesting and unique solutions.typographic elements according toaesthetic criteria. The size and shape For complex, extensive a assign-of letters, words, and lines of type de- ments, a per-determined structure —thetermine the subdivision of space. Like grid system — is necessary. In contrastbuilding blocks, the individual ele- to the optically improvised struc-ments are highly dependent on each ture, the grid is a closed system thatother: if one element is changed, is implemented consistently once the

17structure has been developed. Modular grids consist of a series ofmodules separated by a consistent spaceand organized into columns and rows.Modules determine the dimensions andplacement of graphic and typographic el-ements, which may include pictures, head-ings, text, captions, and page numbers. Inthis way, the grid serves as a strong organi-zational device, providing unity betweenpage elements and the pages themselves,while at the same time allowing for a vastnumber of variations. The grid functions strictly as anorganizational device, one that providesorder but is itself invisible. Graphic andtypographic elements are guided by, butnever subordinated to, the grid. Althoughit facilitates order, using a grid does notnecessarily yield unimaginative and rigidsolutions. Like any systematic approach,

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19it can lead to lively results if used withimagination and applied to the right task.Grid systems also make it easier forseveral individuals to collaborate on ap-plication, for instance, is frequently ateam effort, and benefits from the orga-nized structure a grid system provides.Working with a grid involves twophases: developing a structure that always proceed from an analysis of all theaccommodates all the elements, and visual material that will be included in theorganizing those elements following that design: the more thoroughly the structurestructure. Each phase is equally import- is related to the given material, the moreant. When devising a grid, the designer rigorous the visual solution will be.must not only take into account the idio-syncrasies of the typographic material but —Willi Kunzalso anticipate all the possible problems Typography: Macro andof working with the material, for example Microaestheticsthe cropping of photographs. For this 1998reason, the development of a grid must



CHAPTERFOUR

22 CHAPTER 4 FORM & COUNTERFORMThe most fundamental aspect of Typographic design depends ontypographic design is the interplay the synergy of form and counterform.between letterform and background. Elements must be arranged so thatAgainst its background, every letter- counterforms are clearly defined. Theform defines a particular counterform. qualities of the background—its sizeForm and counterform are interdepen- and shape—are vital for expression ofdent, reciprocal values, each integral to any design. In judging design, evalua-a letter’s design. The counterform is not tions must consider not only form butsimply the reversal of the form: it is a also counterform.new entity, the part of the backgroundthat emerges through interaction with —Willi Kunzthe form. Typography: Macro and Microaesthetics When combined, letterforms create 1998new counterforms between them. Tightspacing intensifies the counterformsbetween letters, while open spacing em-phasizes those in the individual letter.The counterforms created by varyingline lengths, make ragged right compo-sition visually lighter and more playfulthan justified type.

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24 WHEN LETTERFORMS ARE COMBINED, NEW COUNTERFORMS EMERGE BETWEEN THEM. THE BACKGROUND NOW BECOMES THE FORM AS THE LETTER’S ORIGINAL FORM SUBMERGES. THE COUNTERFORMS BETWEEN LETTERS ARE A RICH VOCABULARY OF NEW VISUAL SIGNS THAT ARE ULTIMATELY DETERMINED BY THE STRUCTURE OF LANGUAGE AND GRAMMAR.

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FORM & CONTENTWHAT IS SHOWN IS WHAT IS SAIDBOOK DESIGN BY ALYSSA RAMSTETTERTYPOGRAPHY I - VAD24501DEPARTMENT OF ART & DESIGNTHE UNIVERSITY OF DAYTONTYPEFACE- ITC NEW BASKERVILLE(BOOK, BOLD, ITALIC)SECONDARY TYPEFACE- ITC FRANKLIN GOTHIC (MEDIUMCONDENSED, DEMI CONDENSED)