2. Historical Typography - Gutenberg The first example of mass book production in Europe was achieved by German inventor Johann Gutenberg during the mid 15th Century. Gutenberg’s invention was a method of printing from movable type, the concept involved the use of metal moulds, alloys and oil-based inks, this allowed for the first time the mass production of printed books. Before Gutenberg, printing was limited and nearly solely for decorative purposes, primarily used for pictures and designs. The material which was to be printed was carved into wood, stone, and metal, rolled with ink or paint and transferred by pressure to parchment or vellum. Books were hand copied mostly by members of religious orders so were not accessible to the predominantly illiterate general public. Gutenberg’s inventionlaid the foundation for the modern day commercial mass production of books. The success of printing the general public had more access to books and therefore meant that they soon became cheaper, and ever wider parts of the population could afford them. The breakthrough of Gutenberg’s invention empowered people to follow debates and take part in discussions relevant to them, the social barriers were consequently broken down and many believe we have Gutenberg to thank for the very reason I am able to type this out in such a way. Gutenberg’s 42 line bible Nathan Holley
3. Historical Typography - Roman Empire During the 500year reign of the Roman empire from 27BD to 474AD the developed a distinct style of type for their latinalphabet system. When the army would conquered a country they imposed their way of communication onto the culture. Because of the vast empire the Roman's once owned they were able to introduce a lettering style know as Carolingian minuscule. It was developed as a writing standard in Europeso that the alphabet could be easily recognised by the literate class from one region to another. The letter style was used throughout the empire as a stamp of the Roman’s dominance. Widely regarded as one of the most beautiful pieces of typography by, the inscription on Trajan’s Column - Rome Nathan Holley
22. Similar to Times New Roman, a font familiar to nearly everyone but modernised, possibly appealing to a younger (20-40) audience Context suggestion; Classy restaurant Nathan Holley
27. Close up I love the simple idea behind this ‘THINK!’ print advert and the type has a great deal to do with it. The Art Direction is well done, by combining the more adult based ‘times new roman’ font and the child’s hand written words a story is told in its purest form. The stylish type does not shout at the audience but rather is written almost in a poetic format, using limited amount of words to convey a poignant message. This print advert for ‘The Economist’ is also very well Art Directed. The copy is put together in such an imaginative way it invites the audience's eyes to scan down the entire piece – getting the better of their own curiosity. The thick, bold typeface suggests power, with its sharp edges and rounded curves. It works well for the imagery as it is interpreted as a stack of loose block’s. Nathan Holley
28. Use of Typography This first example has been designed with a placard format in mind. The strong block pink shade emulates T Mobile’s logo but also is acts as a visual distraction from other more mundane placards. The font I have chosen is a sanserif one and stands out from the serif styled logo as being easy to read, with distinctive curves and a thin body. This second example of type I have used in work Is an advert for the ‘Chip Shop awards’ competition which commends unrestricted creativity. I chose a serif typeface as I can see it appealing to a more mature audience. I have structured the type in a way that guides the audiences’ eye down the page to the revealing small print below. Nathan Holley
29. Typography Today New process of typeface design computer programs vs. hand design and casting New possibilities for layout with the screen computer programs vs. galleys, mobile phone & digital screen’s New elements of expressing the type text and images sound and animation screen brightness and contrast Book and magazine Nathan Holley
30. Digitally Adopted Type was the first official digital type font, was designed in 1968 by the Hell Design Studio and was available in seven weights from light to bold. Times New Roman 1932, The Times of London Newspaper Bookman Old Style 1858, A.C. Phemister in Edinburgh, Scotland Courier New 1955, Howard Kettler Designed as a typewriter face Commissioned by IBM Design as a monospaced font Nathan Holley
