ƒutur futur futu

simple process of making marks on paper

futura

futura
simple process of making marks on paper
Editor/ Designer : Kathryn O’Neill April 25, 2010 GDES 1314 This Monkey’s Gone to Heaven —If the Devil is Six then God is Seven by Elliot Earls

ABCDEFGHIJKLMNOPQRSTUVWXYZ a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ABCDEFGHIJKLMNOPQRSTUVWXYZ a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ABCDEFGHIJKLMNOPQRSTUVWXYZ a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ABCDEFGHIJKLMNOPQRSTUVWXYZ a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0 1 2 3 4 5 6 7 8 9 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0 1 2 3 4 5 6 7 8 9 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0 1 2 3 4 5 6 7 8 9 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0 1 2 3 4 5 6 7 8 9

light condensed light condensed

The simple process of making marks on paper is less of an intellectual process than a biological process. 10pt

One must cultivate a feel for proportion, solidity, balance, etc. 12pt
light oblique condensed

Manipulative skills, first person, hand/eye-coordinated, flesh based skills.14pt

medium condensed

medium oblique condensed

bold condensed

Excuse the digression, but when I talk about developing a feel, I know that some of you are rolling your eyes.Some of you may think that the term “feel” might be likened to the term “taste,” with all of its class overtones and attendant critiques.
24/24pt

light condensed oblique

bold oblique condensed

What in jazz they call “chops,” and in design they call “fundamental graphic exercises” — line rhythms, gradation, and figure/ground studies. 14/14pt
And what would those skills be to which one must dedicate him or herself only to eventually forget? 12pt

extra bold condensed

I’m suggesting that one develops a feel not magically, or through attendance at the finest schools, but through rigorous application, and through working damn hard at acquiring a set of very concrete skills, then forgetting them. 10/12pt

extra bold oblique condensed

Aa Bb Cc Dd Ee

medium condensed
When one is giving birth to a font not spawned directly from an existing model, what is needed most is the establishment of a biological discourse between looking and drawing—between retina and cortex.

11/14pt

16/18pt

The Foundation Program at the School of Design in Basel, Switzerland placed clear emphasis on understanding form through drawing.

medium condensed oblique

11/14pt

It is in traditional figure drawing studio classes that one learns that the mind must be quieted.

Ff Gg Hh Ii Jj
16/18pt 12pt 14pt 18pt

The hand and retina must move in symbiotic lock step as they both trace the physical line.

Draw them big, with a ruling pen and Plaka, and some Pro White.

Bold Condensed

How do you design letterforms?

VS
Bold Condensed Oblique

Kick it old skool style.

Then draw them again.
Making them thinner here and thicker there.

14pt

12/14pt

18/24pt

Sit back, evaluate them optically

CONDENSED
CONDENSED
CONDENSED
CONDENSED

A a 0 A a 0 A a 0 A a 0 A a 0 A a 0 A a 0

B C D b c d 1 B C D b c d 1 B C D b c d 1 B C D b c d 1 BCD b c d 1 BCD b c d 1 B C D b c d 1

E F G H I J K L M N O e f g h i j k l m n o 2 3 4 5 E F G H I J K L M N O e f g h i j k l m n o 2 3 4 5 E F G H I J K L M N O e f g h i j k l m n o 2 3 4 5 E F G H I J K L M N O e f g h i j k l m n o 2 3 4 5

P Q R S T U p q r s t u 6 7 P Q R S T U p q r s t u 6 7 P Q R S T U p q r s t u 6 7 P Q R S T U p q r s t u 6 7

V W X Y Z v w x y z 8 9 V W X Y Z v w x y z 8 9 V W X Y Z v w x y z 8 9 V W X Y Z v w x y z 8 9 VWX v w x 8 VWX v w x 8 V W X v w x 8 YZ y z 9 YZ y z 9 Y Z y z 9

light light oblique medium

medium oblique

EFGHIJKLMNOPQRSTU e f g h i j k l m n o p q r s t u 2 3 4 5 6 7 EFGHIJKLMNOPQRSTU e f g h i j k l m n o p q r s t u 2 3 4 5 6 7 E F G H I J K L M N O P Q R S T U e f g h i j k l m n o p q r s t u 2 3 4 5 6 7

book book oblique heavy

Extra Bold Condensed
I stress that this process, in order to be successful, is non-linguistic.
11/12pt

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ABCDEFGHIJKLMNOPQRSTUVWXYZ a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ABCDEFGHIJKLMNOPQRSTUVWXYZ a b c d e f g h i j k l m n o p q r s t u v w x y z 0 1 2 3 4 5 6 7 8 9 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0 1 2 3 4 5 6 7 8 9 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0 1 2 3 4 5 6 7 8 9

heavy oblique

bold bold oblique extra bold

The hand moves, the mark changes, and the eye responds.
The eye, and how it relates to mark making, or more accurately, how it responds to the mark made, is the most important thing.

14/14pt

11/12pt

extra bold oblique

Extra Bold Condensed Oblique

BOOK

HEAVY MEDIUM LIGHT

I am resolute in my belief that there is simply no correlation between time and quality, and that all things historical are not necessarily bad.

11/14pt

11/14pt

I am resolute in my belief that there is simply no correlation between time and quality, and that all things historical are not necessarily bad.

The geezers didn’t get everything wrong.

16/18pt

16/18pt

The geezers didn’t get everything wrong.

I am resolute in my belief that there is simply no correlation between time and quality, and that all things historical are not necessarily bad.

11/14pt

11/14pt

I am resolute in my belief that there is simply no correlation between time and quality, and that all things historical are not necessarily bad.

BOLD EXTRA

The geezers didn’t get everything wrong.

16/18pt

16/18pt

The geezers didn’t get everything wrong.

I am resolute in my belief that there is simply no correlation between time and quality, and that all things historical are not necessarily bad.

11/14pt

11/14pt

I am resolute in my belief that there is simply no correlation between time and quality, and that all things historical are not necessarily bad.

The geezers didn’t get everything wrong.

16/18pt

16/18pt

The geezers didn’t get everything wrong.

book 12/ 24pt

oblique
light oblique 14/36 pt

24 pt

typefaces must first learn to look
at typefaces. I am often shocked and

Students who begin drawing

book oblique

14pt 14pt

amazed at my students first attempts
8pt

to construct, for instance, the

termination

of a stroke. It usually involves a student using Fontographer. And when looking
20pt

closely at the

letterform, one often
line quality, which almost

Quite possibly the biggest challenge facing
book oblique 14/ 36pt 9pt

notices a complete lack of rigor, coupled with a
hyperkinetic

type designers who are just starting out is
medium oblique 14/36pt

always leaves me with the impression that
18pt

Kk Ll Mm Nn Oo

that most cannot see, nor can they draw (I should amend that slightly; most
heavy oblique 14/36 pt

I’m teaching type
methamphetamine

design to a class of

addicts. (Which I have found 10pt

is usually not the case.) One need look no
11pt

bold oblique 14/36 pt

haven’t looked, nor can they draw.)

further than the plenitudinous offerings of foundries such as T-26 or Garage Fonts to find textbook examples of this undisciplined methamphetamine line.
12 pt

Pp Qq Rr Ss Tt

ë

ö

æ

œ

The ability to see,(no, to feel) the correlation between the ruling pen, nib, chisel and/or brush and the final letterform is essential.

1

» It’s through this p®ocess th@t one ¢an learn tö trust nøt the mind, ßut the retinª. medium18/24pt
futura uses geometirc shapes such as squares and circles to create its form.

O
extra bold condensed extra bold

Although Modernism has become shorthand for dogmatic, imperious, doctrinaire, dry and anal, it is also rigorous, studied, quintessentially optimistic and highly formal. 3. bold 14/18pt
But anti-mastery comes after mastery.
5. medium 10/12pt 6. medium 12/16pt 4. bold 12pt

Does this imply that all letterforms must have serifs or strokes that are in some way informed 1. light 11/14pt by the ruling pen, nib, or chisel? 2. light 18/20pt

2

3

4 5 6

In a recent Print magazine article, Kathy McCoy encourages educators to abandon hand-based exercises in favor of the computer.

The great artist or designer is s/he who is no longer constricted by the rules.

As a matter of fact, some of the most interesting typographic specimens bear no correlation to these tools.

7

24pt 24pt

light condensed medium condensed bold condensed light medium bold

simple simple simple simple

Of course not!

7. extra bold 14/18pt 8. extra bold 24/30pt

8 9 10

I would absolutely agree if it pertains to typographic skills for tracking, kerning, leading, comping, font selection, etc.

simple simple simple simple

10. heavy 14/18pt

I would completely disagree when it comes to the typographic skills of letterform design. 9. heavy 11/14pt

BOLDER
“Type design has lost its urgency, and has regained its soul.”
“God (or the Devil,or possibly both) is in the details.”
bold oblique 18/30 pt

extra bold oblique 24/30 pt

Colophon. This type specimen book is comprised of
the Futura std family font which was designed in 1928 by german

Well, back the f@*k up. heavy oblique 14/30pt

artist/painter Paul Renner

futura

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