Wednesday, October 26, 2011

1000 words

type face history
San-serif types are also known as Gothics in the US and Grotesks or Lineales in Europe. The types can be broadly divided into three categories - Grotesques, Geometrics, and Humanists. Many sans-serif type faces are highly legible - the Humanist and Grotesque designs perhaps more so than the Geometric. All san-serif types produced in the 19th century are known as Grotesques. 
The flexibility and plastic quality of the san-serif design was later exploited by morris Benton at American Typefounders in 1908 when he designed the News Gothic family of type - trade gothic is similar. Some narrow sans-serif that save on space include News Gothic, Trade Gothic, ITC Officina Sans, and Bell Centennial, narrow design for setting telephone directories in the US. 
The main characteristics of Grotesque sans-serif : some contrast ing ht e thickness of the letter strokes, a slight squareness to the curves, the capital R usually has a curled leg, the lower-case g is often but not always open-tailed, and the capital G usually has a spur. 
The first lineates, or sans serif can be found in catalogues at eh beginning of the nineteenth century; they were bulky and tended to exist only in the upper case. Wood-letter forms existed, but were restricted to large-scale display use. St the beginning of the twentieth century there was interest in the form with the growth of display print needs, and Morris Fuller Benton was quick to cover the market for ATF with Alternate Gothic, Granklin Gothic and News Gothic. The strokes have contrast and there is a squared-off crudeness to the curves. The later Trade Gothic, by Jackson Burke, is altogether smoother; however, Franklin Gothic has more than stood the test of time to remain immensely popular in editorial and advertising. 
Trade Gothic, first released in 1948 by Linotype and added to in succeeding years to produce and extensive family of variations. Designed by Jackson Burke, this is a utilitarian face (condensed even in its standard form) that mixed Modernist tweaks into a basic nineteenth century sans.
The typeface is a simple grotesk that remains a common choice for books, magazines, and newspapers due to its spacious counters and legibility. It portrays a wonderful character and sturdiness, especially in condensed weights. Trade gothic was a revived version of News Gothic. 
Designed by: Jackson Burke 1948
Classification: Grotesque
Foundry: Ludlow, Linotype
Number of fonts: 14
Weights: 3
Expert features: small caps, Old-Style figures, super and subscript, ordinals
Special features: condensed and estended fonts
Language support: Central European
The first cuts of Trade Gothic were designed by Jackson Burke in 1948. and further weight and styles were added until 1960. The family is enlivened by a certain variation of underlying structure across the family of 12 weights and widths with a bold condensed form noticeably more square-sided and mechanistic than the lighter weights. These variants comprise a lively and versatile sans-serif family fit for a wide range of uses. The bold condensed fonts are popular in the newspaper industry for headlines. 
typeface designer
 Jackson Burke (1908–1975), who continued to work on further style-weight combinations (eventually 14 in all) until 1960 while he was director of type development for Mergenthaler-Linotype in the USA. The font family includes 3 font weights and 3 widths.
Trade Gothic does not display as much unifying family structure as many other sans-serif families (like Futura, Helvetica, Univers, ITC Avant Garde, Frutiger, Avenir, and Akzidenz Grotesk), but this dissonance is typical of types which are — or seem to be — hand worked. It is often seen in combination in multimedia and advertising with Antiqua and/or roman text fonts, while the condensed versions are sometimes utilized for headlines. From San Francisco, California, Burke  was an American type and book designer. After studying at the University of California, Berkeley, he succeededC.H. Griffith as Director of Typographic Development at Mergenthaler Linotype from 1949 until 1963, where he designed several type faces.[1]
He was also responsible for a number of other achievements at Mergenthaler-Linotype including:
  • development of fonts for native American languages[2]
  • development of the TeleTypesetting System (TTS) for magazine use
  • development and implementation of the first phase of Linotype Group's photocomposition library
trade Gothic series (Linotype), considered by some to be a knock-off of M.F. Benton's News Gothic. Designed for newspaper work, particularly for headlines and classified advertising.
what happened in 1948
Nobel Prizes
  • Peace – not awarded
United States Presidential Election 1948 Harry S. Truman (Democratic)
Porsche is founded
1 million households own Televisions was 5,000 just 3 years earlier
Velcro Switzerland by George deMestral 
Transistor Radio USA from Bell Laboratories
Cost of a gallon of Gas 16 cents
Movie Ticket 60 Cents
Indian pacifist and leader Mahatma Gandhi is murdered on 26th January by a Hindu extremist
The Land Rover Series I is shown for the first time at the Amsterdam Car Show
The Foreign Assistance Act ( The Marshall Plan ) is agreed to provide more than $13 billion in aid to war torn Europe between 1948 and 1951
The UN creates the WHO World Health Organization
The United States and Great Britain begins a massive airlift of food, water, and medicine on June 26th to the citizens of West Berlin following the Soviet Blockade.
NASCAR holds its first race for modified stock cars at Daytona Beach
The Summer Olympics are held in London, England
The Winter Olympic Games are held in St. Moritz, Switzerland
U.S. continues to cope with severe postwar inflation while rocked by labor unrest
House Un-American Activities Committee accuses Alger Hiss of spying for the Soviet Union
Communists seize power in Czechoslovakia 
"Big bang" theory of the universe’s origin postulated 
Noted food critic Duncan Hines founds a company to make prepackaged cake mixes
"Scrabble" introduced
Frisbee invented
First Nikon Camera
Nov - 1st Polaroid camera for sale

Thursday, October 13, 2011

typeface classification

Old Style (1475)
- Have more fluent transitions and narrower proportions than humanists
- Contrast is greater
- Cross bars are horizontal on lowercase 'e'
- Top serifs are roof shaped
Fonts: Bembo, Palatino, Garamond, Sabon, Albertina, Lectura

Transitional (1750)


- Designed for a specific purpose
- Axis of the thick and thin contrast is almost vertical or slopes very slightly to the left
- The lowercase e has a horizontal crossbar
- The top serifs of lowercase letters are roof shaped
- The base serifs are slightly or not rounded at the bottom
Fonts: Baskerville, Conrode, Fournier, Perpetue, Caslon Old Face, Times New Roman

Modern (1775)

- Shows a strong emphasis on vertical stroke
- Sharp contrast & transition to straight serifs
- Symmetry
- Axis of the thick-thin contrast is vertical
- Some typefaces have many variants because it was very easy to adjust thickness and width
Fonts: Didot, Bodoni, Walbaum

Slab Serif (1800)
- Hardly have any thick-thin contrast
- The Clarendon typeface is so typical for this group that in some English classifications the term 'slab-serif' is replaced with 'Clarendon'
- Heavy rectangular serifs are as thick as the letters themselves 
Fonts: Clarendon, Memphis, Joanna

Sans Serif: Grotesque (1920)
- Appeared at the time of clinical Swiss Typography after WWII
- No serifs
- Lines thickness seems equal but have a slight visual thick-thin contrast
- The ascender height is usually equal to the capitol height
Fonts: Akzidenz Grotesk, Helvetica, Univers, Arial, Trade Gothic

Sans Serif: Geometric (1920)
- The axis of the rounding is vertical
- The letters sometimes seem to have been drawn using ruler and compass
- Line thicknesses are only visually and minimally corrected
Fonts: Futura, Gotham, Avenir

Sans Serif: Humanist (1920)
- The line widths are visually equal, though in fact most sans-serifs show some contrast between thick and thin
- The extension on the lowercase 'e' points to the right instead of turning toward the cross-bar
- The lowercase 'g' often has a classic form with two 'bowls'
Font: Gill Sans, Profile, Syntax


Group Fonts:

Me: Trade Gothic
- Gothic Font
- Jackson Berc in 1948
- Apex is very horizontal on A
- Spurs in b and d curve out a bit
- Very vertical font, less round
- "squiggle" for a tail on Q
- 2 story g
- Not serif, but big spur on G
- K's leg connects to arm
- Dots are square

Sally: Gotham
- Created in 2000, so its a pretty new font
- Sans Serif Geometric
- A's apex is flat
- All lines end parallel
- K's leg comes off the arm in upper and lowercase version
- Very rounded font
- 1 story g
- The tail of the Q doesn't go below the baseline
- The W looks like two V's next to each other

Molly: Paletino
- Old Face/Humanist
- Designed by Hermand Zapf in 1948
- Based off of handwritten type in the Renaissance
- Serifs at the top are more triangular
- All descenders drop below the baseline
- K's leg meets the arm, but makes a point

Stephanie: Clarendon
- Slab Serif
- Made by Robert Besley in 1845
- 2 story g
- K's leg meets arm
- Horizontal crossbar
- Balls/Circles on several letters
- Horizontal Apex


Wednesday, October 12, 2011

trade gothic

its a san serif font classified as a san serif gothic typeface 

Jackson Burke was an American type and book designer. After studying at the University of California, Berkeley, he succeeded C.H. Griffith as Director of Typographic Development at Mergenthaler Linotype from 1949 until 1963, where he designed several type faces.




He was also responsible for a number of other achievements at Mergenthaler-Linotype including: development of fonts for native American languages, development of the TeleTypesetting System (TTS) for magazine use, development and implementation of the first phase of Linotype Group's photocomposition library

created 1948

In the nineteenth-century grotesque style, like News Gothic, Trade Gothic has a large x-height. Trade Gothic, with its condensed faces, is a classic design for newspaper work, particularly for headlines and classified advertising. The condensed versions increase the versatility of the typeface, particularly for setting headlines and subheads.