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BIGELOW & HOLMES
He donned a denim printer’s apron, picked up a composing stick, pulled out a case of type, and set it on top of a cabinet. He asked us to gather round, and began to teach the craft and art of typography. It never ends. — Chuck Bigelow. (Jack Stauffacher passed away on November 16, 2017, age 96. BIGELOW & HOLMES: ARTWORK TYPOGRAPHIC WORKSHOP 17. I learned typography from Jack Stauffacher in the fall of 1967. He taught at the San Francisco Art Institute in Typographic Workshop 17, a basement room off one of the corridors in the old concrete buildings that ramble down the slope of Chestnut Street on Russian Hill. BIGELOW & HOLMES: TYPOGRAPHY In August 1983, Scientific American magazine published the article "Digital Typography" by Charles Bigelow and Donald Day, with letterform illustrations by Kris Holmes. The article outlined the background and evolution of analog handwriting and typography and discussed the technology, problems, and promises of digital typography, from the perspective of 1983. BIGELOW & HOLMES: DYSLEXIA & TYPOGRAPHY TYPOGRAPHY & DYSLEXIA. Fonts that purportedly ameliorate dyslexia have recently been featured in blogs and on-line news media: Slate (Nov. 10, 2014, with correction Nov. 12), NPR (Nov. 11, 2014), USA Today (Nov 12, 2014), The Guardian (Nov. 12, 2014), and BIGELOW & HOLMES: HOW AND WHY LUCIDA 2014 is the 30th anniversary of the first showing of Lucida, the first family of original, digital typefaces for laser printing and screen displays, so we think it is time to write more about our approach to the design.. We first wrote about “The Design of Lucida” in 1986, and on “The Design of a Unicode Font” (Lucida Sans Unicode) in1993.
BIGELOW & HOLMES: CALLIGRAPHY IN TYPE DESIGN Readers have said they enjoyed the B&H interview with Dr. Püterschein and have asked to read more of his writings. Dr. Püterschein was highly esteemed in his time, but few of his publications have survived, presumably because the fashionable punditry of one era seems embarrassingly outmoded to members of the next generation who know they really do know everything. BIGELOW & HOLMES: LUCIDA GRANDE The character set of Lucida Grande built upon the set B&H originally did for Lucida Sans Unicode, which is explained in a 1993 paper by Bigelow & Holmes, “The Design of a Unicode Font”, the first TrueType font to include an extensive non-Latin and symbol characterset.
DIGITAL TYPE ARCHAEOLOGY INTERNATIONAL: SCIENTIFIC Digital Type Archaeology International: Scientific American 1983. In August 1983, Scientific American magazine published the article "Digital Typography" by Charles Bigelow and Donald Day, with letterform illustrations by Kris Holmes. The article outlined the background and evolution of analog handwriting and typography anddiscussed the
THE ROLE OF CALLIGRAPHY IN GRAPHIC DESIGN (BIGELOW & HOLMES) The Role of Calligraphy in Graphic Design. I am posting this on April 2 so it doesn’t get dismissed as an April Fool joke. A private e-mail list has been discussing whether training in calligraphy and lettering is necessary in modern design education. To paraphrase the eminent antiquarian, Kasper Gutman, that is a question, sir, thatcalls
HUMANIST VERSUS GROTESQUE, GROTESQUE VS. GROTESQUE: LUCIDA Apple’s developer release of its grotesque sans-serif font family “San Francisco” is generating discussions, including: its replacement of Helvetica and comparisons to Helvetica; Helvetica’s replacement of Lucida as Apple’s OS X UI fonts two years ago; comparisons of Lucida to Helvetica. These raise bigger questions of legibility of Grotesque sans-serifsBIGELOW & HOLMES
He donned a denim printer’s apron, picked up a composing stick, pulled out a case of type, and set it on top of a cabinet. He asked us to gather round, and began to teach the craft and art of typography. It never ends. — Chuck Bigelow. (Jack Stauffacher passed away on November 16, 2017, age 96. BIGELOW & HOLMES: ARTWORK TYPOGRAPHIC WORKSHOP 17. I learned typography from Jack Stauffacher in the fall of 1967. He taught at the San Francisco Art Institute in Typographic Workshop 17, a basement room off one of the corridors in the old concrete buildings that ramble down the slope of Chestnut Street on Russian Hill. BIGELOW & HOLMES: TYPOGRAPHY In August 1983, Scientific American magazine published the article "Digital Typography" by Charles Bigelow and Donald Day, with letterform illustrations by Kris Holmes. The article outlined the background and evolution of analog handwriting and typography and discussed the technology, problems, and promises of digital typography, from the perspective of 1983. BIGELOW & HOLMES: DYSLEXIA & TYPOGRAPHY TYPOGRAPHY & DYSLEXIA. Fonts that purportedly ameliorate dyslexia have recently been featured in blogs and on-line news media: Slate (Nov. 10, 2014, with correction Nov. 12), NPR (Nov. 11, 2014), USA Today (Nov 12, 2014), The Guardian (Nov. 12, 2014), and BIGELOW & HOLMES: HOW AND WHY LUCIDA 2014 is the 30th anniversary of the first showing of Lucida, the first family of original, digital typefaces for laser printing and screen displays, so we think it is time to write more about our approach to the design.. We first wrote about “The Design of Lucida” in 1986, and on “The Design of a Unicode Font” (Lucida Sans Unicode) in1993.
BIGELOW & HOLMES: CALLIGRAPHY IN TYPE DESIGN Readers have said they enjoyed the B&H interview with Dr. Püterschein and have asked to read more of his writings. Dr. Püterschein was highly esteemed in his time, but few of his publications have survived, presumably because the fashionable punditry of one era seems embarrassingly outmoded to members of the next generation who know they really do know everything. BIGELOW & HOLMES: LUCIDA GRANDE The character set of Lucida Grande built upon the set B&H originally did for Lucida Sans Unicode, which is explained in a 1993 paper by Bigelow & Holmes, “The Design of a Unicode Font”, the first TrueType font to include an extensive non-Latin and symbol characterset.
DIGITAL TYPE ARCHAEOLOGY INTERNATIONAL: SCIENTIFIC Digital Type Archaeology International: Scientific American 1983. In August 1983, Scientific American magazine published the article "Digital Typography" by Charles Bigelow and Donald Day, with letterform illustrations by Kris Holmes. The article outlined the background and evolution of analog handwriting and typography anddiscussed the
THE ROLE OF CALLIGRAPHY IN GRAPHIC DESIGN (BIGELOW & HOLMES) The Role of Calligraphy in Graphic Design. I am posting this on April 2 so it doesn’t get dismissed as an April Fool joke. A private e-mail list has been discussing whether training in calligraphy and lettering is necessary in modern design education. To paraphrase the eminent antiquarian, Kasper Gutman, that is a question, sir, thatcalls
HUMANIST VERSUS GROTESQUE, GROTESQUE VS. GROTESQUE: LUCIDA Apple’s developer release of its grotesque sans-serif font family “San Francisco” is generating discussions, including: its replacement of Helvetica and comparisons to Helvetica; Helvetica’s replacement of Lucida as Apple’s OS X UI fonts two years ago; comparisons of Lucida to Helvetica. These raise bigger questions of legibility of Grotesque sans-serifs BIGELOW & HOLMES: ARTWORK TYPOGRAPHIC WORKSHOP 17. I learned typography from Jack Stauffacher in the fall of 1967. He taught at the San Francisco Art Institute in Typographic Workshop 17, a basement room off one of the corridors in the old concrete buildings that ramble down the slope of Chestnut Street on Russian Hill. BIGELOW & HOLMES: TYPOGRAPHY In August 1983, Scientific American magazine published the article "Digital Typography" by Charles Bigelow and Donald Day, with letterform illustrations by Kris Holmes. The article outlined the background and evolution of analog handwriting and typography and discussed the technology, problems, and promises of digital typography, from the perspective of 1983. BIGELOW & HOLMES: DIGITAL TYPE ARCHAEOLOGY In August 1983, Scientific American magazine published the article "Digital Typography" by Charles Bigelow and Donald Day, with letterform illustrations by Kris Holmes. The article outlined the background and evolution of analog handwriting and typography and discussed the technology, problems, and promises of digital typography, from the perspective of 1983. BIGELOW & HOLMES: CALLIGRAPHY IN TYPE DESIGN Readers have said they enjoyed the B&H interview with Dr. Püterschein and have asked to read more of his writings. Dr. Püterschein was highly esteemed in his time, but few of his publications have survived, presumably because the fashionable punditry of one era seems embarrassingly outmoded to members of the next generation who know they really do know everything. BIGELOW & HOLMES: READING SCIENCE All these questions must still be determined by context, experiment, visual judgment, analysis and intuition. Weight numbers definitely help, and they are getting better the more we study them, but so far, they remain at best, signs on the road to understanding, not our destination. Bigelow & Holmes. BIGELOW & HOLMES: ARCHIVES Charles Bigelow & Kris Holmes have been designing typefaces since1978.
DIGITAL TYPE ARCHAEOLOGY 1.1 (BIGELOW & HOLMES) Digital type has gone from a handful of commercial implementations in the late 1960s to the dominant technology of text transmission today. Surfing along with Moore's Law, digital type shot past metal and photographic type and disrupted the 500 year hegemony of analog printing to become today's dominant mode of written informationtransfer.
WEB LINKS (URLS) FOR TYPOGRAPHY & DYSLEXIA POST (BIGELOW Web Links (URLs) for Typography & Dyslexia post. For readers wishing to dig deeper into Typography & Dyslexia, the subject of previous B&H post, here are urls for papers cited in approximate order of that in the original post. More scientific studies of typography and dyslexia are ongoing, and some are in other languages not yet translated into REMEMBERING HANS ED. MEIER, DESIGNER OF SYNTAX-ANTIQUA All Kitsch, of course, but perfect Kitsch!”. Kris Holmes and I became friends with Hans Ed. Meier in 1977 and 1978, when we worked together by mail on developing phonetic characters in his Syntax typeface, for a native American language of the Pacific Northwest. Working with him was more than educational, it was inspirational. 6A014E869B3FEC970D014E869C7DF8970D-PI (2076×2509) 6a014e869b3fec970d014e869c7df8970d-pi (2076×2509)BIGELOW & HOLMES
REMEMBERING JACK STAUFFACHER TYPOGRAPHIC WORKSHOP 17 I learned typography from Jack Stauffacher in the fall of 1967. He taught at the San Francisco Art Institute in Typographic Workshop 17, a basement room off one of the corridors in the old concrete buildings that ramble down the slope of Chestnut Street on Russian Hill. Although I’ve been a working typographer and a teacher of typography for five decades, Jack’s was the only course in typography I evertook.
When I think back to my first typographic autumn studying “the black art” with Jack, I wonder how he managed to teach in such a short time enough typography to last a lifetime. He didn’t do it with a textbook, though he showed us books, and he didn’t do it with ideology or a methodology, though he had those in reserve somewhere. He did it by example. The Art Institute is a shadowy labyrinth punctuated by brilliant sunlit courtyards and balconies, but the type workshop is like a dungeon down a steep stairwell. Its few windows are high in the room yet at foot level on the sidewalk of Chestnut Street. We could see the feet of students passing-by. The first day of class, a half-dozen of us students waited in the workshop. On the walls were posters of alphabets by somebody named Hermann Zapf. A gray light filtered in from the windows. The smell of turpentine drifted down from a painting studio at the top of the stairwell. A couple of us began rummaging around, peeking into things. The room was full of wooden cabinets full of flat drawers divided into compartments full of small, flat rectangles of gray metal, each with a little letter on one end. This had to be the type, the very stuff oftypography.
A thin patina of acrid dust lay over every surface and a faint, varnish-like odor hung in the air. It was, like, weird! Mark Twain stuff. We could have been back in the 19th century down in thatworkshop.
But, man, up on the surface world, it was the space age, the information age. It was the Sixties. Astronauts orbited Earth. Satellites beamed TV all around the world. Revolutions flared up like wildfire. Marshall McLuhan was telling us that the Gutenberg galaxy was shifting into the video universe faster than a fuel-burning dragster roaring through a quarter-mile. Old-fashioned, hot, linear, typographic man was being replaced by modern, cool, non-linear mediaman.
And not a moment too soon, because old-fashioned, up-tight, lock-step linear man was dropping fire from the skies in Vietnam and elsewhere spewing poison into the air and water in business as usual. But modern hip laid-back groovy man, rendered polymorphic by a pharmacopeia culled from ancient ethnobotany and modern chemistry would send us to a better tomorrow. It was the spaced-out age. Turn-on, tune-in, drop-out. Even before astronauts had stepped onto the moon, some of us had travelled out beyond the asteroid belt in search of the remote and the strange. The Sunday San Francisco Chronicle had a regular column called “Astronauts of Inner Space”. Back in Typographic Workshop 17 we waited for our teacher. Even before we saw him, we heard him. A quick, syncopated tattoo of footsteps down the concrete stairs, accompanied by the ticking of a bicycle freewheel. From the speed of the steps, it first seemed like a late student rushing to class or the school store farther down the stairs. But it was Jack. I think that’s the way he always went everywhere. Not that he was in a hurry, but because he was eager to get to wherever it was he was going. To do whatever it was he was going todo.
He came into the type shop, unslung a leather satchel and set down the Italian bike he’d been carrying on his shoulder. We saw a man of medium height, in his forties, seething with the energy of an athlete in his twenties. Suntanned. His hair was long and black, combed back, the ends curled down over his back collar. His eyes were sharp, brows strong. Under a tweed jacket his shoulders were powerful, slightly arched like those of a hockey player or acrobat. His tie was askew, his collar unbuttoned, his sleeves long and loose. He wore khaki trousers. Brown loafers were on the feet that had trotted so nimbly down the stairs. So this was a typographer. I had studied calligraphy, but my teacher, Lloyd Reynolds, had admitted few typographers into his pantheon. The murky photographs I had seen of those few seemed from some antediluvian age - William Morris, Rudolf Koch, Eric Gill. Titans, to be sure. But Jack was a modern man. Sure he revered Humanism and had studied Renaissance typography as a Fulbright scholar in Italy. But he reveled in the modern world, though hardly uncritically. He had just designed the typography for a new periodical, the Journal of Typographic Research . He read widely and pondered the TLS and NYT book reviews, always eager to discuss some recent provocative volume, invariably asking “What do youthink...?”
In Typographic Workshop 17, our teacher took off his jacket, opened the high windows to let in air and light, spread clean sheets of white paper on the conference table, arranged the chairs with the help of students, and invited us to sit down. Then he opened his satchel and began to show us books. For him, typography sprang from the book. Typography is the book. Emil Ruder. Jan Tschichold. Daniel Berkeley Updike. Karl Gerstner. Raymond Gid. Carl Dair. Massin. Adrian Frutiger. Hermann Zapf. Guys he knew! He held their books in his deft hands with the assurance of long acquaintance and intimate knowledge, opened them, and passed them around. It was like watching a card-sharphandle a deck.
Then we witnessed a brief dialogue that summarized, as I came to realize, Jack’s philosophy. A student from the highly esteemed Masters printmaking program asked, “What about illuminated manuscripts? You aren’t showing us any ofthose!”
Jack replied, “Illuminated manuscripts are medieval books. Handwritten, made with hand tools, in a different time, for different readers. These are typographic books, made with tools of our time, forour world.”
The student declared, “Modern machine-made books can’t compare to the beauties of illuminated manuscripts!” Jack explained: “Each has its own kind of beauty. The beauty of the handwritten book lies in calligraphy and illumination, but the beauty of the printed book lies in typography and photography. We must try to understand that difference.” He glanced around, looking for signs of understanding. Smiling. Enjoying saying these things. The student proclaimed, “No modern book can match the beauty of the Book of Kells, the most beautiful book ever made!”. “The Book of Kells is beautiful,” Jack said, “but it was written more than a thousand years ago by monks meditating on the word of God. Today we have to meditate on our world, on our words. Typography is our way of making books. We aren’t monks in a monastery. We can’t look back. We must face our own times.” Silence. As a calligrapher, I was inclined to agree with the student, but Jack seemed so sensible in his explanations, so sturdy in his commitment, so honest in his vision, that I made my choice, not all at once, or even consciously, but irrevocably, to become a typographer. The student stormed out. Jack asked, “What was that all about?” Somebody said, “She freaked out.” We laughed. Jack shook his head, puzzled. He donned a denim printer’s apron, picked up a composing stick, pulled out a case of type, and set it on top of a cabinet. He asked us to gather round, and began to teach the craft and art of typography. It never ends.— Chuck Bigelow
(Jack Stauffacher passed away on November 16, 2017, age 96. An earlier version of this article originally appeared in Ampersand, journal of the Pacific Center of the Book Arts, vol 10, No. 4, 1990. Chuck Bigelow final project in Jack Stauffacher's typography class,1967
Jack & Chuck ponder new technology of typography, Bigelow & Holmes Studio, 300 Broadway, San Francisco, 1984. Photo by Kris Holmes.Comments (0)
CALLIGRAPHY BY KRIS HOLMES, 1983 - SPOKEN BY PEIG SAYERSComments (0)
MORE ZERO VERSUS OH AND ELLIPSES VERSUS SUPERELLIPSES In 2013 I wrote an article on the history of visual confusion between the shapes of the numeral zero and the letters 'O' and 'o', a perennial problem in monospaced computer fonts. Historically, though, the problem goes way back before the inventions of computers, typewriting, and typography. It has influenced the development of typographic numerals, and, in recent times, stimulated a wide variety of solutions in computer typography, as the article explains. The essay was first published as "Oh, oh, zero!" in TUGboat: The Communications of the TeX Users Group, Vol. 34, No. 2, pp. 168-181, 2013 (http://tug.org/TUGboat/tb34-2/tb107bigelow-zero.pdf) and later was published in French translation by Jacques André as "Histoires d'O, d'o, et de 0" in Cahiers GUTenberg, No. 57. (http://bigelowandholmes.typepad.com/bigelow-holmes/2014/07/history-of-o-o-and-zero.html). There have been many different design solutions to the problem, but, as my original article explains and illustrates, the methods have varied and there is no single, standard solution to the problem. The TUGboat article elicited a letter from my former Stanford colleague, computer scientist Donald Knuth, inventor of the TeX system for mathematical and scientific publishing, and the Metafont system for type design. He expanded our understanding of the early history of the problem in computing, and described his favored method for distinguishing zero and capital 'O' - to make the 'O' squarish. (http: //tug.org/TUGboat/tb34-2/tb111knut-zero.pdf). Professor Knuth ended his letter with a request that Bigelow & Holmes implement a similar solution in Lucida Console. And so we did, also in Lucida Grande Mono, by making the capital letter 'O'superelliptical.
The development of the "DK" (designed for Donald Knuth) versions of the fonts proved to be more complicated than estimated, involving more design history and a smattering of mathematics, so I have written about it as a third installment to the series. "About the DK versions of Lucida" can be found at (http://tug.org/TUGboat/tb36-3/tb114bigelow.pdf). More samples of the resulting fonts can be seen at (https://tug.org/store/lucida/opentype-dk.html). You might think that two articles and a letter is way more more than enough information on the subject, but the articles have prompted colleagues to send me yet more information, unintentionally omitted from either article. Jacques André reminded me of a 1968 article by H. W. Mergler and P.M. Vargo about using superellipses for computer drawn letter shapes, as part of an early, ambitious study of computers and letter design, long before Ikarus, PostScript, Metafont, TrueType and other digital font software developed in the 1970s and 1980s. (https://s3-us-west-2.amazonaws.com/visiblelanguage/pdf/V2N4_1968_E.pdf) Also, Erich Alb reminded me of Adrian Frutiger's solution to the zero/O problem in the OCR-B monospaced font design, based on Univers. Frutiger's solution is the opposite of Knuth's: in OCR-B, the capital 'O' is elliptical and the zero is squarish/superelliptical. As explained in my original article, those who propose solutions to the zero/O problem fall into two main camps: those who modify the zero and keep the more classical 'O' shape, whom I call the "humanists", versus those who modify the 'O' and keep the traditional zero shape, whom I call the "engineers". It seems that people prefer to preserve the character shape that is more important to them, and modify the one that is less important. Letters versus numbers. Although one of Frutiger's many accomplishments in typography is the use of numerical designations of type weights and styles, such as "Univers 55", his solution in OCR-B puts him in the "humanist"camp.
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BEST FONT PUN & MINI-HAIKU OF 2015 Some 40 years ago, Willard McCarty, now professor of Humanities Computing at Kings College London, told me of a complaint by a medieval scribe that a hungry bear had broken into the scriptorium and eaten a vellum manuscript the scribe had been writing. I recently related this anecdote to Steve Matteson, who wrote back: "Bear Eats Vellum -- Schrifts in the Woods." (Detail: Bohun Psalter, 2nd half of 14th century, folio 13, verso.British Library
http://www.bl.uk/manuscripts/Viewer.aspx?ref=egerton_ms_3277_fs001ar)Comments (0)
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