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Project: This exercise represents three projects for this quarter. Your task is to visually interpret three distinct historical styles in the growth of typography. Each will reflect the style of text and image specific to each period of history. Objective: To explore the typographic nuances of three important historical eras. Limits: The three layouts shall be as follows: A. Each layout will be contained within a 7 1/2" x 10" maximum space so they can be printed on an 8-1/2 x 11" page. Your layout may be oriented either vertical (tall) or horizontal (wide). B. A finished output is required for all the layouts. These will be mounted on mat board and flapped for final presentation. (see examples). C. You may use any software that is available to you. However, PageMaker is recommended. I have downloaded and organized specific fonts from each of the three historical periods. (see handout). D. There is no limitation to the use of color. However, color should be researched in relation to the specific historical period. Working Time: You will have approximately 1-1/2 weeks for each project. Specific due date will announced in class. A class review will conclude this exercise. The headline and body copy will consist of the information provided BELOW. Use all of the copy provided. However, you may break the copy up into appropriate pieces to fit your particular needs. Classical Era (1450-1800) This layout reflects the long classical tradition and interest in humanist philosophy which flowered in the Renaissance. It is rather formal, sometimes symmetrically balanced, and shows an understated refinement and elegance. The type styles reflect their historic past, that of the humanist hand---which was characteristic of the early types created in Italy. These early styles were inspired by the Roman inscriptional capitals carved in stone monuments. They show a refined set of proportions and have a clear open quality.
Industrial Revolution (19th Century) The Industrial Revolution had a dramatic impact on graphic art technologies, particularly printing and typography. Playbills and public notices printed on the letterpress, reflect the love of exotic and oversize woodtype designs which were frequently used. The overall flavor of this particular style is in strong contrast to the Classical in its general lack of subtlety and grace. The layout for this period was heavier, more black, active and often very full. Borders, heavy rules, and a seemingly reckless mixing of fonts were used--often to an extreme. Type reflected the strong interest in the Egyptian faces during this time period--- fonts with square serifs and a more uniform, heavy weight.
Modernism (Early 20th Century) About the time of the First World War, a revolutionary approach to typographic layout began in Europe, particularly in Russia and later at the Bauhaus school of Design in Germany. This dramatic break from the classical past looks remarkably fresh today, and lends itself nicely to the computer. Designers experimented freely with asymmetrical balance, grid-like organization of spaces, and fragmentation of text into small geometric blocks. Rules were used to connect blocks of type and graphics. Dynamic tensions were achieved through unexpected spacing and oversized characters. Type and image were often aligned on a diagonal. Typefaces reflected a clarity and directness characterized by the sans serif fonts which were uniform strokes and bold weight.
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