DVB201 Typographical Zine
n11218126 | Florrani Managing
Blend Zine- The Typography Issue is a zine made by Lê Nguyệt Song Thư and Thao Ho discussing the two typeface categories and the difference between hand lettering and calligraphy as a discipline. The zine utilises both serif and sans serif, as well as hand lettering elements throughout its composition. The innovative play of hierarchy can be observed in the contents page. The sentence can be hard to read due to the apparent stylistic choice appointed in some of the words that make it seem as though its presence is solely for decoration. The hierarchical play of the zine was slightly improved in the upcoming pages through the effective application of colour, allowing the viewers to direct their eyes to the words that are intended to be read first. This is achieved by implementing a lighter colour to words at the beginning of a sentence or question. (Lê and Thao, 2021)
Courier is a zine created by Katarzyna Wenda that explores the concept of the famous typeface, Courier. The zine includes the typeface’s origin, interpretation regarding its form and compliance, and its comparison to New Times Roman. The minimalistic use of colours is a dominant theme throughout the whole zine. This assists the audience is focusing on the content and preventing distractions, while also providing entertaining visuals. I especially enjoyed the repetition of the letters and words as an element of the illustrations. This creates a sense of movement that really immerses and compels the readers to the design, enhancing the eyes’ exposure and familiarity to the typeface’s form. Column horizontal grid system was implemented throughout the zine. This creates consistency and keeps the arrangement in an orderly state. (Wenda, 2022)
Garamond: Typographic Zine delves into the history, type structure, creator, and other aspects that is associated with the Garamond typeface. A 6-column grid system was used for the body of texts; however, this did not seem to be utilized in the design illustrations of the individual letters. Due to this, the arrangement feels scattered, and the pages look inconsistent. (Gupta, 202)
Thumbnails:
Written Content:
Page 3-6 About the chosen typeface
The formulation of the Lo-Res font family in 1985 to 2001 was actuated due to machines having low resolution outputs, and fonts needed to be nicely displayed on the screen. With the introduction of the new Macintosh computer, a series of bitmap font were introduced with a public domain software. The earliest designs had a pixelated appearance, one that could be popular in retro video games. For other designers, the composition was looked upon as having a computer effect. The font was associated with idiosyncrasy, viewed as a foundational font for computer font and was expected to be further developed as resolution screens also evolve.
The Lo-Res font family is a synthesis of pixelated designs that proposed technical developments using Emigre’s earlier coarse resolution fonts, as well as bitmap representations of Base 9. Lo-Res includes a more finalised character set, style and weight consistency observed through character shapes, as well as better alignment among the various resolutions.(Émigré, n.d)
One of the uses of the Lo-Res type is in Snapple fAIct Generator, for its code snippets. This tool utilises ChatGPT creator to generate facts on any topic. The style specifications of the type is the Lo-Res 9 Wide. The use of Lo-Res for a tool ran by artificial intelligence not only demonstrates its reliability to represent digital machinery, but also proves its preservation of use in the world of typography in the future. (Arief, 2023)
The formulation of the Lo-Res font family in 1985 to 2001 was actuated due to machines having low resolution outputs, and fonts needed to be nicely displayed on the screen. With the introduction of the new Macintosh computer, a series of bitmap font were introduced with a public domain software. The earliest designs had a pixelated appearance, one that could be popular in retro video games. For other designers, the composition was looked upon as having a computer effect. The font was associated with idiosyncrasy, viewed as a foundational font for computer font and was expected to be further developed as resolution screens also evolve.
The Lo-Res font family is a synthesis of pixelated designs that proposed technical developments using Emigre’s earlier coarse resolution fonts, as well as bitmap representations of Base 9. Lo-Res includes a more finalised character set, style and weight consistency observed through character shapes, as well as better alignment among the various resolutions.(Émigré, n.d)
One of the uses of the Lo-Res type is in Snapple fAIct Generator, for its code snippets. This tool utilises ChatGPT creator to generate facts on any topic. The style specifications of the type is the Lo-Res 9 Wide. The use of Lo-Res for a tool ran by artificial intelligence not only demonstrates its reliability to represent digital machinery, but also proves its preservation of use in the world of typography in the future. (Arief, 2023)
Page 7 FY(t)i
The existence of the number along with the Lo-Res font name signifies the number of pixels that constitutes its body. the incorporation of pixels in its construction is key to accomplished A perfect pixel control at small sizes in bitmap designs. This is due to its fixed outward resolution even when the resolution of the output device is increased. Hence, the attachment of resolutions to every bitmap designs. The stair step outline of the bitmap design serves as an outline format for Lo-Res fonts. In addition, the intended size or integer multiple sizes maximises its efficiency when utilised in low resolution.
Although the coarse resolution was seen as a limitation aspect for the variety of font characteristics represented, it can also be viewed as a positive prospect in terms of being a strong and decisive character. Due to small size bitmap designs’ characteristic of possessing modular proportions, the complications of dropping out or filling in delicate details are also prevented. (Émigré, n.d)
The existence of the number along with the Lo-Res font name signifies the number of pixels that constitutes its body. the incorporation of pixels in its construction is key to accomplished A perfect pixel control at small sizes in bitmap designs. This is due to its fixed outward resolution even when the resolution of the output device is increased. Hence, the attachment of resolutions to every bitmap designs. The stair step outline of the bitmap design serves as an outline format for Lo-Res fonts. In addition, the intended size or integer multiple sizes maximises its efficiency when utilised in low resolution.
Although the coarse resolution was seen as a limitation aspect for the variety of font characteristics represented, it can also be viewed as a positive prospect in terms of being a strong and decisive character. Due to small size bitmap designs’ characteristic of possessing modular proportions, the complications of dropping out or filling in delicate details are also prevented. (Émigré, n.d)
Page 8 Type Designer
Zuzana Licko was born in Bratislava, Czechoslovakia in the year 1961. On account of her father’s work, she and her family emigrated to the United States in 1968. (Adobe Fonts, n.d) Licko’s earliest experience with creating a typeface was creating the Greek Alphabet on a computer as a commission for her father during an internship. She finished her study in the University of California at Berkeley in 1984, with a degree in Graphic Communications. Along with her husband, Rudy VanderLans, Licko started the design company called Émigré Graphics in 1984. With the simultaneous release of the Macintosh computer follows Émigré’s creation of digital typefaces. Licko alternately used public domain software to create bitmap fonts, instead of synthesising from existing typographic forms through calligraphy, lead, and photosetting. The title of being the earliest type foundry to develop original fonts on and for computers was attributed to Émigré.
Although Zuzana was criticised for ‘rejecting standard design rules’, Licko’s influence and contributions to the foundations of digital typography was revolutionary and is still evident in today’s design magazines. (Rubinstein, 2002)
Zuzana Licko was born in Bratislava, Czechoslovakia in the year 1961. On account of her father’s work, she and her family emigrated to the United States in 1968. (Adobe Fonts, n.d) Licko’s earliest experience with creating a typeface was creating the Greek Alphabet on a computer as a commission for her father during an internship. She finished her study in the University of California at Berkeley in 1984, with a degree in Graphic Communications. Along with her husband, Rudy VanderLans, Licko started the design company called Émigré Graphics in 1984. With the simultaneous release of the Macintosh computer follows Émigré’s creation of digital typefaces. Licko alternately used public domain software to create bitmap fonts, instead of synthesising from existing typographic forms through calligraphy, lead, and photosetting. The title of being the earliest type foundry to develop original fonts on and for computers was attributed to Émigré.
Although Zuzana was criticised for ‘rejecting standard design rules’, Licko’s influence and contributions to the foundations of digital typography was revolutionary and is still evident in today’s design magazines. (Rubinstein, 2002)
Page 12-13 Type Trend
Ever since the existence of pixelized types with the earliest digital computers, its persistent popularity in the design world proves its ability as a timeless aesthetic. (Debnath, 2023) To avoid confusion, it is important to recognise associated terms and origins. Bitmap typefaces are composed of pixels. The smallest element in a picture constrained by a grid is called a pixel. Bitmap designs continue to be a popular type trend due to society’s perpetual use of electronic gadgets. The implementation and continued desire to stick to lower resolution in devices stems from the fact that they are more affordable, portable, and efficient. The demand for type and graphics that apply low coarse resolution will be never ending as this is the crucial link between human cognition and machines. The requirement for an improved font within Émigré’s bitmap design contributed to the creation of the Lo-Res family.
Ever since the existence of pixelized types with the earliest digital computers, its persistent popularity in the design world proves its ability as a timeless aesthetic. (Debnath, 2023) To avoid confusion, it is important to recognise associated terms and origins. Bitmap typefaces are composed of pixels. The smallest element in a picture constrained by a grid is called a pixel. Bitmap designs continue to be a popular type trend due to society’s perpetual use of electronic gadgets. The implementation and continued desire to stick to lower resolution in devices stems from the fact that they are more affordable, portable, and efficient. The demand for type and graphics that apply low coarse resolution will be never ending as this is the crucial link between human cognition and machines. The requirement for an improved font within Émigré’s bitmap design contributed to the creation of the Lo-Res family.
Page 14-15 Reflection
The final outcome showed an effective showcase of the LoRes typeface, with regards to its history, designer and its pivotal creation to the word of typography design. The zine simultaneously highlights its ability to explore diverse approaches of forming illustrations through its letter forms. The visual style includes a simple but enjoyable way in which readers are able to digest content while giving them elements of entertainment as they do so. The designs successfully feature the various forms that constitute the LoRes font family while providing information to cultivate the readers’ knowledge of the typeface.
My biggest hurdle during the entire process was the indecisiveness that came along with choosing the designs from the different LoRes fonts. I wanted to explore and highlight a wide variety of styles, however in doing so, this would result in style inconsistency throughout. Ultimately, the ones that were visibly obvious for the illustrations were LoRes 12 OT Bold, LoRes 9 Plus OT Narrow Bold, and LoRes 9 Minus OT Wide Regular. Because of this, there is inconsistency that can be observed in the illustrations.
Another issue the I experienced was operating InDesign. I have had previous experience with the program before, however, the illustrations and designs that I undertook this time were much more complex and required patience and meticulous effort.
Typographic Design Elements:
Typeface- The LoRes typeface is the main typeface utilised for the illustrations of this zine. It used pixel geometry for the construction of the letters, resulting in its chunky and boxlike features. The font used for the block of texts is called the Adobe Arabic font. This font offered a neat and readable display of the sentences despite of the small font size.
Colour- My attempt to explore the concept of a pixelated typeface lead me to choose colours that associate with old digital computers. The dominant use of black and turquoise gives the composition the old microcomputer screen feel. This implementation is able to tie the illustrations and the machine concept together perfectly.
Hierarchy- The titles are remarkably bigger in size and are given elements that lets the audiences' eyes fall directly to them. One of the elements for the visual hierarchy is giving the titles or illustrations movement through repetition to immediately catch the eye of the readers.
Alignment-
Layout/Grid- The layout uses a three column grid for the body of texts. This allowed me to have more variety on the placements of the texts and illustration on each of the page. Simultaneously it gave the pages a consistent arrangement in its layout of texts.
Changes and Experimentation during the Process:
Zine Mock-ups:
Zine Spread
References:
Lê N. S. T., Thao H. (2021). BLEND ZINE - THE TYPOGRAPHY ISSUE University Project. Behance. https://www.behance.net/gallery/125294331/BLEND-ZINE-The-Typography-Issue
Wenda, K. (2022). Courier | Typographic zine. Behance. https://www.behance.net/gallery/150120353/Courier-Typographic-zine
Gupta, B. (2020). Typographic Zine. Behance. https://www.behance.net/gallery/97283401/Typographic-Zine
N/A (n.d). Zuzana Licko. Adobe Fonts. https://fonts.adobe.com/designers/zuzana-licko
Rubinstein, R. (2002). Reputations: Zuzana Licko. Eye Magazine, Issue 43. https://www.eyemagazine.com/feature/article/reputations-zuzana-licko
Mclelland, R. (n.d). Zuzana Licko Type Designer & Innovator. ryanmcclelland.github.io. https://ryanmcclelland.github.io/zuzana_licko/zuzana1.html
Arief, T. (2023) Snapple fAIct Generator. FONTS IN USE. https://fontsinuse.com/uses/51871/snapple-faict-generator
Debnath, S. (2023, March 28). Typography Trends For 2023. Medium. https://medium.muz.li/typography-trends-for-2023-1ebe91e6f67c
Émigré. (n.d). Lo-Res A Synthesis of Bitmap Fonts. Émigré. https://www.emigre.com
