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Editor and Designer: Erika Marquez 2012 GDES 1314 Typography I Essay Credit: Jeffery Keedy

VI

The Rules of Typography According to Crackpots Experts

Jeffery Keedy 1993
exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine. For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs Imagine that you have before you of fine vintages, you will choose a flagon of wine. You may choose the crystal, because everything your own favourite vintage for about it is calculated to reveal this imaginary demonstration, rather than to hide the beautiful so that it be a deep shimmering thing which it was meant to crimson in colour. You have two contain... Now the man who goblets before you. One is of first chose glass instead of clay solid gold, wrought in the most or metal to hold his wine was
The first thing one learns about typography and type design is that there are many rules and maxims. The second is that these rules are made to be broken. And the third is that breaking the rules has always been just another one of the rules. Although rules are meant to be broken, scrupulously followed, misunderstood. reassessed, retrofitted and subverted, the best rule of thumb is that rules should never be ignored. The typefaces discussed in this article are recent examples of rule-breaking/making in progress. I have taken some old rules to task and added some new ones of my own that I hope will be considered critically. 1

a modernist in the sense in which I am going to use the term. That is, the first thing he asked of this particular object was not How should it look? but What must it do? and to that extent all good typography is modernist.
Beatrice Warde, from an address to the British Typographers' Guild at the St. Bride Institute, London, 1932. Published in Monotype Recorder, Vol. 44, No. 1 (Autumn 1970).

vessel has to do it. Of course, she was talking in terms of ideals, but what is the ideal typeface to say: Uh- Huh, Uh-Huh, You got the right one baby? There is no reason why all typefaces should be designed to last forever, and in any case, how would we know if they did? The art of lettering has all but disappeared today, surviving at best through sign painters and logotype specialists. Lettering is being incorporated into type design and the distinction between the two is no longer clear. Today, special or custom letterforms designed in earlier times by a letterer are developed into whole typefaces. Calligraphy will also be added to the mix as more calligraphic tools are incorporated into type- design software. Marshall McLuhan said that all new technologies incorporate the previous ones, and this certainly seems to be the case with type. The technological integration of calligraphy, lettering, and type has expanded the conceptual and aesthetic possibilities of letterforms. The rigid categories applied to type design in the past do not make much sense in the digital era. Previous distinctions such as serif and sans serif are challenged by the new semi serifand pseudo serif. The designation of type as text or display is also too simplistic. Whereas type used to exist only in books (text faces) or occasionally on a building or sign (display), todays typographer is most frequently working with in-between amounts of type -- more than a word or two but much less than one hundred pages. The categories of text and display should not be taken too literally in a multimedia and 2

Beatrice Wardes address is favoured by members of a vanishing tribe-- typography connoisseurs who reveal beautiful things to the rest of us (modernists). Such connoisseurs are opposed to typographic sensationalists who have no feelings about the material they contain with their extravagance (postmodernist hacks). In short, the typographers with taste must rise above the crass fashion-mongers of the day. Connoisseurship will always have its place in a capitalist, class-conscious society and there is nothing like modernism for the creation of high and low consumer markets. The modernist typophile-connoisseur should rejoice in the typefaces shown here because they reaffirm his or her status as being above fleeting concerns. After all, if there was no innovation to evolve through refinement to tradition, then where would the connoisseur be? Beatrice Warde did not imagine her crystal goblet would contain Pepsi-Cola, but some

interactive environment where type is also read on television, computers, clothing, even tattoos.

Good taste and perfect typography are suprapersonal. Today, good taste is often erroneously rejected as oldfashioned because the ordinary man, seeking approval of his so- called personality, prefers to follow the dictates of his own peculiar style rather than submit to any objective criterion of taste.

its democratization of design, is the beginning of the end of traditional typographic standards. In fact, just the opposite is true, for though typographic standards are being challenged by more designers and applications than ever before, this challenge can only reaffirm what works and modify what is outdated. The desktop computer and related software have empowered designers and nonspecialists to design and use their own typefaces. And with more type designers and consumers, there will obviously be more amateurish and ill-conceived letterforms. But there will also be an abundance of new ideas that will add to the richness of the tradition. Too much has been made of the proliferation of bad typefaces, as if a few poorly drawn letterforms could bring Western civilization to its knees. Major creative breakthroughs often come from outside a discipline, because the experts all approach the discipline with a similar obedient point of view. The most important contribution of computer technology, like the printing press before it, lies in its democratization of information. This is why the digital era will be the most innovative in the history of type design.

Jan Tschichold, 1948, published in Ausgewhlte Aufsatze ber Fragen der Gestalt des Buches und der Typographie (1975).

Criteria of taste are anything but objective. Theories of typography are mostly a matter of proclaiming ones own tastes as universal truths. The typographic tradition is one of constant change due to technological, functional, and cultural advancement (I use the word advancement as I am unfashionably optimistic about the future). In typographic circles it is common to refer to traditional values as though they were permanently fixed and definitely not open to interpretation. This is the source of the misguided fear of new developments in type design. The fear is that new technology, with 3

The more uninteresting the letter, the more useful it is to the typographer. Piet Zwart, A History of Lettering, Creative Experiment and Letter Identity (1986).

Back in Pier Zwarts day most typographers relied on fancy type to be expressive. I dont

think Zwart was against expression in type design as much as he was for expression (an architectonic one) in composition. Zwarts statement epitomizes the typographic fundamentalists credo. The irony is that the essentially radical and liberal manifestos of the early modernists are with us today as fundamentally conservative dogma. I suspect that what is most appealing about this rhetoric is the way the typographers ego supersedes that of the type designer. By using uninteresting neutral typefaces (created by anonymous or dead designers), typographers are assured that they alone will be credited for their creations. I have often heard designers say they would never use so-and-sos typefaces because that would make their work look like so-and-sos, though they are apparently unafraid of looking like Eric Gill or Giovanni Battista Bodoni. Wolfgang Weingart told me after a lecture at CalArts in which he included my typeface Keedy Sans as an example of what we do not do at Basel that he likes the typeface, but believes it should be used only by me. Missing from this statement is an explanation of how Weingart can use a typeface such as Akzidenz Grotesk so innovatively and expertly. New typefaces designed by living designers should not be perceived as incompatible with the typographers ego. Rudy VanderLanss use of Keedy Sans for Emigre and B. W. Honeycutts use of Hard Times and Skelter in Details magazine are better treatments of my typefaces than I could conceive. Much of the pleasure in designing a typeface is seeing what people 4

do with it. If you are lucky, the uses of your typeface will transcend your expectations; if you are not so fortunate, your type will sink into oblivion. Typefaces have a life of their own and only time will determine their fate.

In the new computer age, the proliferation of typefaces and type manipulations represents a new level of visual pollution threatening our culture. Out of thousands of typefaces, all we need are a few basic ones, and trash the rest.

Massimo Vignelli, from a poster announcing the exhibition "The Masters Series: Massimo Vignelli,"(February/March 1991).

In an age of hundreds of television channels, thousands of magazines, books, and newspapers, and inconceivable amounts of information via telecommunications, could just a few basic typefaces keep the information net moving? Given the value placed on expressing ones individual point of view, there would have to be only a handful of people on the planet for this to work. Everything should be permitted, as long as context is rigorously and critically scrutinized. Diversity and excellence are not mutually exclusive; if everything is allowed it does not necessarily follow that everything is of equal value. Variety is much more than just the spice of life. At a time when cultural diversity and empowering other voices are critical issues in society, the last thing designers

should be doing is retrenching into a mythical canon of good taste.

old typefaces. But why are so many typographers insistent on trying to do the impossible -- new typography with old faces? Inherent in the new typefaces are possibilities for the (imaginative) typographer that were There is no such thing as a bad unavailable ten years ago. So besides merely typeface... just bad typography. titillating typophiles with fresh new faces, it is Jeffery Keedy my intention to encourage typographers and type designers to look optimistically forward. Typographers are always quick to criticize, but it is rare to hear them admit that it is a typeface You may find some of the typefaces formally and functionally repugnant, but you must admit that that makes their typography look good. Good type design is becoming very interesting again. typographers can make good use of almost anything. The typeface is a point of departure, Originally published in Eye, No. 11, November 1993. not a destination. In using new typefaces the essential ingredient is imagination, because ITC Fenice Std Light 9/10.8, Regular unlike with old faces, the possibilities have not 10/12, Ultra 12/14.4 been exhausted. Typographers need to lighten up, to recognize that change is good (and inevitable), to jump into the multicultural, poststructural, postmodern, electronic flow. Rejection or ignorance of the rich and varied history and traditions of typography are inexcusable; however, adherence to traditional concepts without regard to contemporary context is intellectually lazy and a threat to typography today. You cannot do new typography with old typefaces. This statement riles typographers, probably because they equate new with good,which I do not. My statement is simply a statement of fact, not a value judgement. The recent proliferation of new typefaces should have anyone interested in advancing the tradition of typography in a state of ecstasy. It is always possible to do good typography with 5

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point is to make your own point. and thats so gorgeous a vision, to know youre born

into a confusing world and you make of it what you can and then quickly as it started, its over.

some people get more chances, more breaks, more days to play the game than others. i hope you get as many as you want, and thats about the nicest thing i know how to say to a stranger. make love while you can and laugh when you have to. sometimes theres no other way to get by. -eric victorino
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Each morning, you have to get out of bed I try to see the bright side. I try to cheer and put one foot in front of the other. You people up.... And I really do belive thing have to push and you have to pull. Things are raely even half as bad as we think. will happen all the time that make you When we rush around, most of what wonder if its worth the trouble. If maybe were killing ourselves over isnt really you should just give up and settle for that urgent. It can wait.... -Eric V. less.... -Eric V. ITC Fenice Std Light 12/14.4 ITC Fenice Std Oblique 12/14.4

Sunshine
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Looking through the it does not kill, it Abyss, I want to dive does not suffocate. it into the blue depths just exists. i sometimes feel like all i do of the oceans, is exist. what is my drown my senses purpose? what is my so I dont have to desire? to be happy, hear, see, or worry of course, but that about the worlds journey is still far troubles. Nothing ahead of me. the road but the darkness is harsh and cruel of the depths of my to me along the way, existence. What digging at my skin, surrounds me is puncturing holes, darkness. What opening old wounds, accumilates in my heart is darkness. I infecting them. stop! want to become one stop! stop! stop! stop! stop! stop! stop! stop! with this peaceful, stop! stop it no! stop! and melancholy darkness, to be one stop! stop! stop! stop! with this being. No, stop! stop it! no! stop! stop! stop it! no! stop! it is not evil in a stop! stop! stop! stop! sense.

Sometimes I think I know everything. Then later, I look back at things I said and things I did and Im embarrassed by my arrogance and blatant stupidity, but for whatever reason I just cant keep my fucking mouth shut. Where do I get off acting like anybody wants to hear what I have to say? What do I know? I have no special papers
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demanding your respect, framed and nailed to my wall. I have no certificates to prove I deserve to be heard. none. high school drop out....Thinks hes gonna be a rock n roll star someday... please dont listen to me. I have made such ridiculous claims. Ive made such horrible decisions.... I am not blazing a trail for you to follow.
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Designed and edited by Erika Marquez in Trustee Hall located in room 108 using the lab computers at St. Edward's University in Austin, Tx. It was printed using the HP Color Printer 5550 on Impact copy paper 20 lb white. The binding type is saddle stitch. Special thanks to Jeffery Keedy for the use of his essay in the beginning and to Eric Victorino for the use of his prose in the examples.

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Ciao!