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Mid Century Typefaces

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Mid Century Typefaces

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Typefaces like Helvetica and Univers embody a modernized, postwar society pushing toward a more Utopian outlook. It is not too much of a stretch to say that the same forces of order and affluence that midwifed the Roman uppercase and Renaissance typography informed midcentury modernist type design. Through the twentieth century and to the present, cycles of experimentation and codification have grown progressively shorter. Midcentury modernism was rejected by the CONTENTS INTRODUCTION 6 HOW TO USE THIS BOOK 8 MOVEMENTS AND STYLES 10 1940 > 1949 HISTORICAL BACKGROUND 106 MIDCENTURY MODERN: PAUL RAND STYLE 108 MIDCENTURY MODERN: PUBLIC INFORMATION POSTER—U.K. 110 MIDCENTURY MODERN: PULP FICTION 112 SWISS INTERNATIONAL: ELEMENTS 116

1950.> 1959 HISTORICAL BACKGROUND 120 MIDCENTURY MODERN: MAGAZINE 122 MIDCENTURY MODERN: A creative exploration of contemporary hand lettering, typography & illustrated typeface Gabri Kirkendall, Jaclyn Escalera. The midcentury modern graphic and design movement emerged in the mid20th century and spans a time period roughly from the mid1930s to the 1960s. This design trend utilizes a clean, simple aesthetic with minimal ornamentation, geometric shapes, and bold patterns. Initially a celebrated movement in furniture, architecture, and interior design, the style has And although some type might be recast (Caxton's Type 2* is an example), the type used by English printers in the sixteenth century was for the most part

uncorrectablei.Because of this dependence on continental materials, we cannot speak of the particular meaning of a particular type in English When the implications of this typeface changed in midcentury, there would be no possibility of an English printer designing a book as a typographical successor to Godfray's 1532 edition. although many early to midcentury volumes of prose fiction utilized typography innovatively, extravagantly, even mockingly, the aim of these innovations was not—as was the case in the Augustans satirists' use of pagedesign—to incite readerly skepticism or adjudication, but rather to sponsor an (often consensual) illusion. Thus the gaps and dashes produced by an epistlewriter in the heights of her

passion,.for example, are meant not to direct our attention to the act of looking and in transportation and communication technologies have created a globalized economy, characterized by increased s technology evolved throughout the midcentury, the world seemed a smaller and smaller place. Improvements advertising, political and social messages being distributed over air waves, radio waves, telephone lines, and later, by computer networks and satellites. The barrage of information that is familiar to us today started after World War I and really took off after These simple homophonic, paraliturgical works surged in popularity in midcentury Rome. The charismatic reformer, Filippo Neri promoted singing laude in the informal

services.of his Congregation of the Oratory, which sponsored the publication of a dozen or so editions over a fortyyear period.25. 21 On broadsheet and other book formats, see Gaskell, Bibliography 80–106. 22 Vervliet H.D.L., “Cyrillic & Oriental Typography in Rome at the End of the Sixteenth Century: an Inquiry into On the European continent the turn of the century had brought about changes in type aesthetics, and by the midcentury in Birmingham, England, John Baskerville was exploring new forms. Caslon died at 74 in 1766, and the business was continued by his son, William Caslon II. Also an excellent craftsman he maintained his father's standards, expanding the company further. The Caslon Foundry continued until 1937,

when.it became part of the Sheffield Foundry, Stephenson, Blake, Lewis Blackwell. Left: Oliver Simon.s Introduction to Typography, published 1946, was a slim bible of 138 A5 pages for the jobbing British printer. It set out the rules of quality typographic practice at the mid century point. Below is a sample spread encouraging the proper use of printers. "flowers" wholly at odds with Modernist thought. ABCDEFGH labcdef g IJKLMNOP hijklmno QRSIUUNV ZUIIJE(E$eE . y z. There was little incorporation of the new with the old for Jan Tschichold, Thus the aim of this chapter is not to try to attribute certain visual practices or designs of typefaces to one or more sources in order to underscore the signifijicance of the

mission.in this context. Rather, I aim to understand how the popularity of the American Press's aesthetics and production standards related to changing local perceptions, at midcentury, of books and their visual dimensions. More specifijically, what needs to be explored are the functions that stylistic methods prominent 

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