The History of Typography by Ben Barrett-Forrest Rewatch

This is my second time viewing this video, after I have learned more about typography. 

This time around, I learned about the original use of italics. I didn't realize that they started out 

being used to fit more letters onto a page and to save money. Of course, now they are used for emphasis or titles, etc. I also didn't realize that sans serif typefaces were originally unpopular. The history of how and why typography has changed over time is interesting. Letters became taller and wider due to the industrial revolution and need for eye-catching advertisements. The History of Typography is a great video for learning a lot about typography in a short time. 

Neville Brody, FUSE designers

E-motional Type, Neville Brody, FUSE designers

Paul Elliman

Paul Elliman was born in 1961 in the UK. He is an artist and designer who is based in London. His work focuses on typography and the human voice and the relationship between them. Elliman also explores the impact of technology and language. His work has been exhibited around the world: Tate Modern, New York's New Museum of Contemporary Art, Victoria and Albert Museum, Anyang Public Art Project (Korea). 

 http://www.peterbilak.com/graphic_design_in_the_white_cube/elliman.html

Tobias Frere-Jones

Tobias Frere-Jones is an American type designer who was born in 1970 and works in New York City. Frere-Jones teaches typeface design at the Yale School of Art MFA program with Matthew Carter. He received a BFA from the Rhode Island School of Design in 1992, and then joined Font Bureau, Inc.  in Boston. While at Font Bureau, Inc. he designed many typefaces and has designed over 700 typefaces for retail publication, clients, and personal experimentation. 

https://www.myfonts.com/person/Tobias_Frere-Jones/

Phil Bicker

Phil Bicker is a renowned creative director, designer, and photo editor. He grew up in the London suburbs and studied at the London College of Printing. He has worked for editorial, advertising, fashion, and art clients. Bicker established himself at The Face in London. He has art directed Creative Camera magazine, worked for Time magazine, and Magnum Photos.

http://honorabledanielsan.wordpress.com/2013/01/09/interview-with-phil-bicker/

Anna-Lisa Schonecker

Anna-Lisa Schonecker is a multi-disciplinary designer and professor of Information Design at University of Applied Sciences in Mainz, Germany. She has a MA in Communication Design from the Royal College of Art and two BA's in graphic design and production design. She began her career at Pentagram and worked for 16 years in London before moving back to her native Germany to teach.

http://www.schoenecker.com/index.php?/about-this-site/

Rick Vermeulen

Rick Vermeulen was born in the Netherlands in 1950. He studied graphic design at the Rotterdam Academy and graduated in 1972. From 1975, he worked for the publisher Bert Bakker and participated in Rotterdam's Graphic Workshop. From 1978-82, he was an editor of Hard Werken magazine. He currently works on freelance projects for publishing and other clients.

http://www.eyemagazine.com/feature/article/reputations-rick-vermeulen

John Critchley

John Critchley has worked for a variety of clients across all media, including advertising, TV, film, publishing, and record companies. He has also worked for Neville Brody's Research Studios and was appointed art director of MTV Networks Europe. He recently formed Visual Material, which involves print, animation, and web design projects. 

http://www.fontshop.com/fonts/designer/john_critchley/

Font info- EUROSTILE

_ Sans Serif 
_ Name of the Designer - Aldo Novarese
_ Other fonts the Designer has designed -  Microgramma
_ Date it was designed - 1962. 
_ Classification (not just Sans Serif or Serif) - Geometric Sans Serif
_ List its family members: Roman, Italic, Bold...(small caps) - EurostileLTStd-Demi, EurostileLTStd-Cn, EurostileLTStd-DemiOblique, EurostileLTStd-BoldCn, EurostileLTStd-Oblique, EurostileLTStd-BoldOblique, EurostileLTStd-BoldEx2, EurostileLTStd, EurostileLTStd-Bold, EurostileLTStd-Ex2

Old Style: Dating from the 1490s, old style letter forms have the weight stress of the rounded forms at an angle. The serifs are bracketed by a tapered curved line. The top serifs on the lowercase letters are at an angle. Old Style fonts were created between the late 15th century and mid 18th century. There is little contrast between thick and thin strokes. 
• examples: Bembo, ITC Berkeley Oldstyle, Garamond

Transitional: The thick and thin strokes of the letter forms are of greater contrast than in Old Style faces. The characters are usually wider than Old Style letters. They are called transitional because they represent the initial departure from Old Style. They have a larger x-height. Numerals and cap-height are consistent in size. 
• examples: Baskerville, Georgia, Times New Roman

Modern: This style takes the contrast between thick and thin strokes to further extremes than Transitional. They have small x-height and hairline serifs without bracketing. There is vertical stress in rounded strokes. 
• examples: Didot, Bodoni, Aster

Slab Serif: (also called mechanistic, square serif, or Egyptian) Slab Serif typefaces have thick, block-like serifs. Terminals may be blunt, angular, or rounded. Slab Serifs typically have no bracket. They are most commonly used in headlines and advertisements because of their bold appearance. 
• examples: Memphis, Rockwell, Serifa std

Sans Serif: A typeface without serifs. They usually have less line width variation than serif fonts. Sans serif fonts are often used in headlines.
• examples: Helvetica, Arial, Calibri

Stroke weight: The thickness of lines in a font character
Axis/Stress: Axis is an imaginary line drawn from top to bottom of a glyph bisecting the upper and lower strokes is the axis. Stress is the direction in which a curved stroke changes weight. 
Small caps: Small caps are capital letters that are smaller size than regular capitals in a given font. They are about the same size as normal lowercase letters. 
Lining figures: Lining figures are a modern style of numerals where all figures are the same height and rest on the baseline. 
Non-aligning figures: These are numbers that don't line up with the baseline. 
Ligatures: Two or more letters combined into one character make a ligature. 
Type Measurement: Type measurement is how letters and words are sized. The baseline and cap height are used to align and measure. The basic unit in measuring type is the point. Points are primarily used to measure verticals. Picas are used for horizontal measurement. Leading and kerning are also used to measure. 

The Final Designs

After a lot of revising I finally came to a decision on the final double page spread, the title page, the table of contents, the book jacket and the end paper.

I kept the theme of circles consistent throughout the entire book and really stuck with the composition notebook pattern for the book jacket.

Table of Contents

For my table of contents pages I really wanted to play with the use of a photograph of each of the designers to be featured in my book.

Title page ideas

The title pages and table of contents were both more simple and clean than our double page spreads. I really liked the idea of keeping the circle shape of a camera lens because our book title is "Click & Sketch."

David Hockney Book Info

For my designer I chose David Hockney because of how our previous project and how interesting I find his work!

Above are my two initial ideas for my two double page spreads.