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Background 7 Concept 9Execution 11Context 19Majuscules 21Miniscules 23Numerals 25Punctuation 27Application 29

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As we examine human history, we can observe the evolution of tools, ideologies, and cultures. If we study the development of human communication, written documentation becomes a vital component for expression. Typography documents the acquisition of knowledge. In many ways, typographic history is human history: it evolves as we evolve. Because concentrated sects of people have similar experiences and interactions with one another, typefaces are often identifiable based on culture. There are evident differences between European and American typefaces. Distinctions even exist between French, German, English, and Italian typography.

If an idea is strong enough to altar schools of thought, should its origin be traced for it to be classified as worthy? In the same context, does a typeface that holds one of the most powerful tools: effective communication, matter in terms of who created it or why it was created? In 1775, The Pennsylvania Assembly urged local printers to use American–made typefaces rather than those imported from England. This suggests the notion that it is possible for typography to communicate on two levels: the interaction between letterforms and the context of the typeface’s historical and cultural development.

Typography and the production of information are immense contributors to the free world. Without the mass production of information, establishments would disconnect and crumble. Until recent times, this powerful element has been controlled by an esoteric group of people. Traditionally, most typography designers have been affluent males of European decent. When leaders of the typographic community were formulating the standard, others were prevented from becoming literate. This imbalance inhibited growth for hundreds of years. Cultural productions such as typography are no longer branded by the domination of a single group. We are founded upon—but not restricted to the discoveries and traditions of the past.

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The original productions of the Declaration of Independence and the Constitution were set in Caslon. This correlates with aristocratic elements formulating a standard. Democracy was accelerating at a tremendous rate for only a certain brand of people. The aristocratic nature of Caslon is reflective of that. Its use is ironic because it is an English typeface—Caslon is the voice of another aristocracy. Instead, what if the Declaration of Independence was printed in a typeface created by rejected fur trapping religious zealots inhabiting wilderness territory?

It is my intent to explore what happens to the content of our foundational documents if they were placed in a typeface that is non-partisan, meaning that it was derived in a way that is inclusive of a new brand or standard. The typeface could be used for a technological installation in the National Archival Building that people would interact with prior to viewing the historical documents. Key phrases could be interpreted into modern English to exemplify the richness of a body of people instead of a mere percentage of the population.

This is balance/counterbalance: being founded upon traditional ideals but not engrained in them. It is about taking innovation developed over history and representing in a way that all people can be a part of. That is effective communication: it appeals to people in multiple ways and distributes enough information for most people to take something from it.

Combining Caslon with a popular humanist typeface would merge substance with familiarity. The larger x–heights and consistent weight of Myriad would create a modernized feel. Co-designed by Carol Twombly and Robert Slimbach, Myriadis a popular typeface that has solidity and approachability. Basing the new typeface off of Myriad is significant because it reinforces the idea that all people are viable participants in the typographic conversation. The standard exists no more.

Approachability, Clarity, Inclusion, Power, Substance:

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CaslonMyriadThe successful fusion of these two typefaces was accomplished by combining the x–height of Myriad with the width of Caslon. By establishing this system, the contemporary approach of an enlarged x–height was maintained and the letterforms became slightly elongated. The characters immediately developed a sense of prominence.

Subtle variations in Caslon were applied to the strength and consistency of Myriad for a controlled fluctuation in weight. This decision allowed the letterforms to maintain a profound tone, while the elimination of serifs contributed to its familiar and approachable nature. The interaction of characters by the activation of positive ground was a primary factor in their development. The relationship between positive and negative space was tested continually.

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TypographyEvolves

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These sketches embody the entire process. They are a fusion of the old and the new. Though they were evolving themselves, they served as a foundation for a countless number of decisions. After pages of trial and error, of debating the use of serifs, of battling running ink and shifting weights, the answer finally revealed itself in a single word: hop.

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Libertas holds a wide spectrum of possibilities as it can be used in body copy and in headlines. Majuscules and miniscules are both functional components of the typeface and can be used interchangeably. Originally, the typeface was created for use in communicating ideals about the American spirit. The idea was to fuse history with the present to make the past become more alive and relatable. In turn, this would ignite an interest in what has gone before. Libertas visually accomplishes clarity and it is fitting that any document incorporating the use of the typeface should uphold a sense of directness and realness.

The ideal application for Libertas is in the National Archives. Before people encounter the actual documents upon which this country was founded, it would be fitting to provide them with tools for comprehension. There is no reason why a child or an individual trying to learn English should struggle through the content and overlook ways in which the information is relevant to them. Reinterpreting the language in simplistic modernized English would effectively communicate the profundity of the concepts. Liberties should never be difficult to acquire. As time passes, they progressively become more alive. Why should they consistently remain in the same format?

The technological installation would be interactive. Libertas projected on a wall would scroll as a newsreel, much like the work of artist Jenny Holzer. Presentation of the type would be demanding of attention in an approachable way. The simplicity of the letterforms and content would speak for itself. The text would serve the purpose of preparing people to view centuries of American spirit and innovation. Though advancement occurs at tremendous rates, it is deeply influenced by the past. In this scenario, the typography would be a primary factor in defining the environment. This strongly correlates with typography’s capacity to mold history.

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