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ITC Fenice StdErika Marquez


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ITC Fenice StdEditor and Designer: Erika Marquez2012

GDES 1314 Typography IEssay Credit: Jeery Keedy

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The rst thing one learns about typography andtype design is that there are many rules and

maxims. The second is that these rules are madeto be broken. And the third is that breakingthe rules has always been just another oneo the rules. Although rules are meant to bebroken, scrupulously ollowed, misunderstood.reassessed, retrotted and subverted, the bestrule o thumb is that rules should never beignored. The typeaces discussed in this articleare recent examples o rule-breaking/making inprogress. I have taken some old rules to task andadded some new ones o my own that I hope willbe considered critically.

Imagine that you have beore youa agon o wine. You may choose

your own avourite vintage orthis imaginary demonstration,so that it be a deep shimmeringcrimson in colour. You have two

goblets beore you. One is osolid gold, wrought in the most

exquisite patterns. The otheris o crystal-clear glass, thin as

a bubble, and as transparent.Pour and drink; and accordingto your choice o goblet, I shallknow whether or not you are aconnoisseur o wine. For i youhave no eelings about wine one

way or the other, you will wantthe sensation o drinking thestu out o a vessel that mayhave cost thousands o pounds;but i you are a member o that

vanishing tribe, the amateurs

o fne vintages, you will choosethe crystal, because everythingabout it is calculated to revealrather than to hide the beautiulthing which it was meant tocontain... Now the man who

frst chose glass instead o clayor metal to hold his wine was

Jeffery Keedy 1993

The Rules o Typography

According to Crackpots Experts


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a modernist in the sense inwhich I am going to use theterm. That is, the frst thing he

asked o this particular objectwas not How should it look?but What must it do? and tothat extent all good typographyis modernist.Beatrice Warde, from an address to the BritishTypographers' Guild at the St. Bride Institute, London,

1932. Published in Monotype Recorder, Vol. 44, No. 1(Autumn 1970).

Beatrice Wardes address is avoured bymembers o a vanishing tribe-- typographyconnoisseurs who reveal beautiul things tothe rest o us (modernists). Such connoisseursare opposed to typographic sensationalists whohave no eelings about the material they contain

with their extravagance (postmodernist hacks).In short, the typographers with taste mustrise above the crass ashion-mongers o the day.Connoisseurship will always have its place ina capitalist, class-conscious society and thereis nothing like modernism or the creation o

high and low consumer markets. The modernisttypophile-connoisseur should rejoice in thetypeaces shown here because they rearm hisor her status as being above feeting concerns.

Ater all, i there was no innovation to evolvethrough renement to tradition, then where

would the connoisseur be?

Beatrice Warde did not imagine her crystalgoblet would contain Pepsi-Cola, but some

vessel has to do it. O course, she was talkingin terms o ideals, but what is the ideal typeaceto say: Uh- Huh, Uh-Huh, You got the right onebaby? There is no reason why all typeaces

should be designed to last orever, and in anycase, how would we know i they did?

The art o lettering has all but disappearedtoday, surviving at best through sign paintersand logotype specialists. Lettering is beingincorporated into type design and the distinctionbetween the two is no longer clear. Today,special or custom letterorms designed inearlier times by a letterer are developedinto whole typeaces. Calligraphy will alsobe added to the mix as more calligraphictools are incorporated into type- designsotware. Marshall McLuhan said that all newtechnologies incorporate the previous ones, and

this certainly seems to be the case with type.The technological integration o calligraphy,lettering, and type has expanded the conceptualand aesthetic possibilities o letterorms. Therigid categories applied to type design in thepast do not make much sense in the digital era.Previous distinctions such as seri and sans

seri are challenged by the new semi seriandpseudo seri. The designation o type astext or display is also too simplistic. Whereastype used to exist only in books (text aces) oroccasionally on a building or sign (display),todays typographer is most requently working

with in-between amounts o type -- more thana word or two but much less than one hundred

pages. The categories o text and display shouldnot be taken too literally in a multimedia and


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interactive environment where type is also readon television, computers, clothing, even tattoos.

Good taste and perecttypography are suprapersonal.Today, good taste is otenerroneously rejected as old-ashioned because the ordinaryman, seeking approval o his

so- called personality, preersto ollow the dictates o hisown peculiar style rather thansubmit to any objective criteriono taste.Jan Tschichold, 1948, published in Ausgewhlte Aufsatzeber Fragen der Gestalt des Buches und der Typographie(1975).

Criteria o taste are anything but objective.Theories o typography are mostly a matter oproclaiming ones own tastes as universaltruths. The typographic tradition is oneo constant change due to technological,

unctional, and cultural advancement (I usethe word advancement as I am unashionablyoptimistic about the uture).

In typographic circles it is common to reerto traditional values as though they werepermanently xed and denitely not opento interpretation. This is the source o themisguided ear o new developments in typedesign. The ear is that new technology, with

its democratization o design, is the beginningo the end o traditional typographic standards.In act, just the opposite is true, or thoughtypographic standards are being challenged

by more designers and applications than everbeore, this challenge can only rearm whatworks and modiy what is outdated.

The desktop computer and related sotwarehave empowered designers and nonspecialiststo design and use their own typeaces. And

with more type designers and consumers,there will obviously be more amateurish andill-conceived letterorms. But there will alsobe an abundance o new ideas that will addto the richness o the tradition. Too muchhas been made o the prolieration o badtypeaces, as i a ew poorly drawn letterormscould bring Western civilization to its knees.

Major creative breakthroughs oten come romoutside a discipline, because the experts allapproach the discipline with a similar obedientpoint o view. The most important contributiono computer technology, like the printingpress beore it, lies in its democratization oinormation. This is why the digital era will be

the most innovative in the history o type design.

The more uninteresting the letter, the moreuseul it is to the typographer.Piet Zwart, A History of Lettering, Creative Experimentand Letter Identity (1986).

Back in Pier Zwarts day most typographersrelied on ancy type to be expressive. I dont


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do with it. I you are lucky, the uses o yourtypeace will transcend your expectations; iyou are not so ortunate, your type will sink intooblivion. Typeaces have a lie o their own and

only time will determine their ate.

In the new computer age, theprolieration o typeaces andtype manipulations representsa new level o visual pollution

threatening our culture. Out othousands o typeaces, all weneed are a ew basic ones, andtrash the rest.Massimo Vignelli, from a poster announcing the exhibition"The Masters Series: Massimo Vignelli,"(February/March1991).

In an age o hundreds o television channels,thousands o magazines, books, and newspapers,and inconceivable amounts o inormation viatelecommunications, could just a ew basictypeaces keep the inormation net moving? Giventhe value placed on expressing ones individual

point o view, there would have to be only ahandul o people on the planet or this to work.Everything should be permitted, as long as contextis rigorously and critically scrutinized. Diversityand excellence are not mutually exclusive; ieverything is allowed it does not necessarily ollowthat everything is o equal value. Variety is muchmore than just the spice o lie. At a time when

cultural diversity and empowering other voices arecritical issues in society, the last thing designers

think Zwart was against expression in typedesign as much as he was or expression (anarchitectonic one) in composition. Zwartsstatement epitomizes the typographic

undamentalists credo. The irony is that theessentially radical and liberal maniestos othe early modernists are with us today asundamentally conservative dogma.

I suspect that what is most appealing aboutthis rhetoric is the way the typographers egosupersedes that o the type designer. By usinguninteresting neutral typeaces (created byanonymous or dead designers), typographersare assured that they alone will be credited ortheir creations. I have oten heard designerssay they would never use so-and-sos typeacesbecause that would make their work look likeso-and-sos, though they are apparently unaraid

o looking like Eric Gill or Giovanni BattistaBodoni. Wolgang Weingart told me ater alecture at CalArts in which he included mytypeace Keedy Sans as an example o what wedo not do at Basel that he likes the typeace,but believes it should be used only by me.Missing rom this statement is an explanation

o how Weingart can use a typeace such asAkzidenz Grotesk so innovatively and expertly.New typeaces designed by living designersshould not be perceived as incompatible withthe typographers ego. Rudy VanderLanss useo Keedy Sans or Emigre and B. W. Honeycuttsuse o Hard Times and Skelter in Detailsmagazine are better treatments o my typeaces

than I could conceive. Much o the pleasurein designing a typeace is seeing what people


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should be doing is retrenching into a mythicalcanon o good taste.

There is no such thing as a badtypeace... just bad typography.Jeffery Keedy

Typographers are always quick to criticize, butit is rare to hear them admit that it is a typeacethat makes their typography look good. Goodtypographers can make good use o almostanything. The typeace is a point o departure,not a destination. In using new typeaces theessential ingredient is imagination, becauseunlike with old aces, the possibilities have notbeen exhausted.Typographers need to lighten up, to recognizethat change is good (and inevitable), to jump into

the multicultural, poststructural, postmodern,electronic fow. Rejection or ignorance othe rich and varied history and traditions otypography are inexcusable; however, adherenceto traditional concepts without regard tocontemporary context is intellectually lazy and athreat to typography today.

You cannot do new typography with oldtypeaces. This statement riles typographers,probably because they equate new withgood,which I do not. My statement is simplya statement o act, not a value judgement.The recent prolieration o new typeacesshould have anyone interested in advancing thetradition o typography in a state o ecstasy. Itis always possible to do good typography with

old typeaces. But why are so many typographersinsistent on trying to do the impossible -- newtypography with old aces?Inherent in the new typeaces are possibilities

or the (imaginative) typographer that wereunavailable ten years ago. So besides merelytitillating typophiles with resh new aces, it ismy intention to encourage typographers andtype designers to look optimistically orward.

You may nd some o the typeaces ormally andunctionally repugnant, but you must admit thattype design is becoming very interesting again.

Originally published in Eye, No. 11, November 1993.

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Shadows

thepointistomakeyourownpoint. andthatssogorgeousavision, toknowyoureborn

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waytogetby. -eric victorino

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I try to see the bright side. I try to cheerpeople up.... And I really do belive thing

are raely even half as bad as we think.When we rush around, most of what

were killing ourselves over isnt reallythat urgent. It can wait.... -Eric V.

Each morning, you have to get out of bedand put one foot in front of the other. Youhave to push and you have to pull. Thingswill happen all the time that make youwonder if its worth the trouble. If maybeyou should just give up and settle forless.... -Eric V.

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Designed and edited by ErikaMarquez in Trustee Hall located in

room 108 using the lab computersat St. Edward's University in Austin,

Tx. It was printed using the HPColor Printer 5550 on Impact copypaper 20 lb white. The binding type

is saddle stitch. Special thanks toJeffery Keedy for the use of his

essay in the beginning and to EricVictorino for the use of his prose in

the examples.

Laoir!

Hasta! SeeYouLate

i! Addio!Ciao

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Erika My Booklet PDF