![]() ![]() Does A Little Too Much Freedom = A Little Too Much Garamond? Once actual drawing tools were a smaller part of the design equation, typographers started to get more theoretical with their designs – creating constraints of their own – fonts like Bodoni are geometrically rationalized, as they were created in a medium (cast metal) with relatively few restrictions. The lettering on the column of Trajan were brushed on, then chiseled. You can see there’s a great deal of variation in the strokes that make up the letters, and they all terminate with a soft point, just like you would expect from a brush. It was created using a brush, and this is apparent in the letterforms. This is graffiti from the ancient city of Pompeii. Some of the best examples of early typography using roman characters are from – you guessed it – the Roman empire. This is because they were formed using a wedge-shaped stylus.Īs this language was replaced in the west by our current roman characters, and the tools which we used changed, so did the form of our letters. You can see, looking at these pictograms, that they are made up of a series of indentions that are pretty much identical. This cuneiform inscribed tablet is an early example of how medium influenced form in written communication. From the beginning, the forms of our letters have been influenced by the tools we used to create them. Typography is the perfect vehicle with which to illustrate this concept throughout history. The best design explicitly acknowledges that you cannot disconnect the form from the material – the material informs the form… Medium and Form in Type History Work with these characteristics, and the design stands a chance to be good – work against them, and there is no chance.Īpple’s lead designer, Jonathan Ive knows this. With any medium – whether it’s pencil and paper, steel and glass, or pixels – the designer has to work with strengths and limitations. One of the most important principles behind every good piece of design is that the designer has to master his or her medium. But, because of the limitations of current display technologies, it’s not a good font to use in web copy – even with the advent of font embedding methodologies such as TypeKit and Google Font API. It’s a best-seller (#18 on all of Amazon).īy Why You Don’t Use Garamond on The WebĪmongst designers – especially print designers – Garamond is considered one of the best fonts in existence. Visual Design Course | White Space Course Garamond: Why You Don't Use This Complex Font on the Web Garamond: Why You Don't Use This Complex Font on the Web You may find helpful to get an overview of what's out there. and of course there's a rather noticable difference in price!Īdobe Garamond, Stempel Garamond and Sabon (which is another Garamond revival) are a good place to start. all the typografic options you could dream of). some font families have not only a regular and bold style, but medium and caption size etc. In any case, it is a good idea to compare different versions of Garamond typefaces, since they differ in appearance and variability (e.g. ![]() And the rather beautiful and versatile Adobe Garamond Pro comes free with some Adobe graphic design programmes like InDesign (I'm not sure which version. In addition, the Monotype Garamond (which is in fact not really a Garamond but a digital version of a Jannon typeface) comes with many MS applications like Word. The URW version has the advantage of providing an additional medium cut if the regular is not dark enough for your taste. There are two free versions of Garamond that I know of:
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |