SDES2198 Advanced Typography and Publishing Design: Discussion Point Wk9

Pre-digital: Hermann Zapf (‘Palatino’ released 1950)

German designer Hermann Zapf emerged as a leading type designer during the manifestation of the German and Swiss International Typographic Style around the 1950s. This movement saw unity, asymmetry, and mathematically constructed grids as central to its vision.

Zapf began as an apprentice photo retoucher at the age of 16, before studying calligraphy. It wasn’t until four years later that he entered Koch’s printing firm, becoming a freelance book and typographic designer. By the time he was 22, Zapf had designed in excess of 50 typefaces, with two of these cut for the Stempel foundry. His work was inspired by his earlier calligraphy work, illustrated by his sensitivity to form.

Released in 1950, Zapf’s ‘Palatino’ is roman in style, with broad letter forms, strong serifs and refined proportions.

Although created in the pre-digital era, Zapf’s typefaces speak of an understanding of futuristic technologies in the creation of complex and technically intense work. “Zapf combines a great love and understanding of the classical traditions of typography with a twentieth-century attitude toward space and scale (Meggs and Purvis, 2006).”

In addition, Zapf designed two editions of ‘Manuale Typographicum’ (published in 1954 and 1968); these books included more than 100 typefaces, information and typographic interpretations.

http://luc.devroye.org/palatino2.html

http://www.behance.net/gallery/Palatino-Typographic-Poster/330655

Contemporary: Matthew Carter (‘Walker’ released 1995)

Carter’s typeface ‘Walker’ was commissioned by the Mineapolis-based Walker Art Center, and is typical of his work as a typographic designer.

This typeface in particular, illustrates how Carter constantly pushed the boundaries of typographic design, and how the possibilities can be expanded.

‘Walker’ includes a concept called ‘snap-on serifs’, where serifs can be attached at the designer’s discretion to the vertical strokes of each letter, in addition to the availability of a variety of widths. Such a concept would not be conceivable in the pre-digital age. Carter also designed a series of lines running over, under and through the typeface in a consideration of unity.

His designs were based on the ideology that “I think of them [letterforms] rather as store window mannequins with good bone structure on which to hang many different kinds of clothing.” Hence, he included a range ligatures and alternate characters, giving the Walker Art Centre freedom and creative input.