As a designer I use type as a means to communicate a particular message. There is a great deal of typefaces today that one can get burried in the decision of what type is going to work for a particular design situation. I can use Helvetic/Neue Haas Grotesk (designed by Max Miedinger, 1957-1983) in many visual solutions, yet with Zapfino (designed by Hermann Zapf, 1998) I may be a bit limited in my use for a particular solution. I do like to experiment with many styles of type, but that doesn’t mean I should or will I ever use every one of them to communicate with. I can convey any number of visual communication solutions with just a handful of strong and simple typefaces, such as Syntax typeface (designed by Hans Eduard Mier, 1968), a Humanist Sans serif typeface, or Gill Sans (designed by Eric Gill, 1927-1930).
I do experiment with what I feel is a limited typeface to find more solutions for its use, rather than assuming it has one place in the communication arena, but find myself going back to certain types that I know will work and fit the solution. Design is an ongoing learning process, yet when it comes down to finding a solution I have to go with my intuition and what feels right for the particular work.
Futura is a strong typeface used in many different instances. Paul Renner designed Futura typeface between 1924 -1926. The typeface was based on geometric forms, which represented the Bauhaus movement of 1919 - 1933. The “O’s” are perfect circles and the peaks of the “A’s” and “M’s” are sharp triangles. Even though Paul Renner was not associated with the Bauhaus, he believed that typefaces should represent the modern rather than be a restoration of earlier designs.
Futura typeface is a clean, crisp and easy to read design. I can use it in such a wide range of visual solutions unlike some typefaces for instance FF Kosmik (designed by Erik Van Blokland, 1993) or Hypnos (designed by Jean Antoine, 1969), which are limited in their use and feel in a communication solution.
When I get lost in the London underground I reach for my map for directions. In those moments I want nothing more than clarity. Edward Johnston designed the Johnston typeface for the London Underground,1915. He left medical school in Edinburgh in 1898 and decided to try his hand in the arts in London and studied medieval manuscripts at the British Library. He was greatly influenced by the manuscript collection at the museum and his passion for lettering began.
In 1915 Johnston was commissioned by Frank Pick, the director of London Transport, to create an alphabet design for the London Underground. Working beside Eric Gill (one of his pupils, whom also designed quit an impressive collection of typography), Edward Johnston finished the design in 1916. Johnston typeface was one of the first humanistic sans serifs, which was influence by the Roman, square style type. It is simple, classic and versatile in visual communication solutions.
Designers like Carson and Stagmeister changed the way type is used in design. They used their gut instincts and went with what they felt would work best for the end product. I am inspired by Stagmeister's work with type, especially his hand written type styles. I am often torn in a desire to be abstract and more diverse in my communication designs and a need for organization when it comes to readability in my work. Clean clear simple contemporary design.
Sources: http://www.britannica.com/EBchecked/topic/305518/Edward-Johnston
http://www.ejf.org.uk/EEC/index.php/wikipedia/New_Johnston/
http://www.linotype.com/391/aboutthedesigner.html
‘Thinking with Type’ by Ellen Lupton 2004
‘An A-Z of Type Designers by Neil Macmillan 1991
'Johnston's Underground Type' by Justin Howes2000
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