Berton Hasebe created Druk Cyrillic for Richard Turley at Bloomberg Businessweek, adapting the attitude and roughness of these old condensed sans serifs for contemporary use. These later became a staple of sixties headline typography in magazines such as Twen, the German style magazine art directed by the legendary Willy Fleckhaus in the 1960s, which is still an enduring influence on editorial design to this day. Often flat-sided, these Continental condensed sans serifs allow very tight setting, which was popular for headlines. Some of the most interesting examples were found in Germany and Switzerland. The first condensed forms, found in the 1830s in Britain, quickly spread all across Europe. The sans serif letterform of the 19th century evolved in many different ways by the end of the century. Its three widths can be mixed together for bold and expressive typographic treatments, and its text versions allow for use at very small sizes, giving structure and visual interest to typography at all scales. Its initial use as a companion to Neue Haas Grotesk demonstrates that it works equally well with any number of other sans serifs, including Atlas, Graphik and Marr Sans. Druk is conceived to offer new possibilities to graphic designers that other typefaces can’t. Berton Hasebe, the designer, wanted to avoid the compromises of forcing the typeface away from its essence for more general-purpose usage. Starting from Medium and going up to Super, Druk is uncompromisingly bold.ĭruk was consciously designed without a normal width, nor lighter than medium weights. Pusiéronse a bailar a la sombra en la calle de Toledo, y de los que las venían siguiendo se hizo luego un gran corro y en tanto que bailaban.ĭruk is a study in extremes, featuring the narrowest, widest, and heaviest typefaces in the Commercial Type library to date. De allí a quince días volvió a Madrid con otras tres muchachas, con sonajas y con un baile nuevo, todas apercebidas de romances y de cantarcillos alegres, pero todos honestos. Acabáronse las vísperas, y la fiesta de Santa Ana, y quedó Preciosa algo cansada pero tan celebrada de hermosa, de aguda y de discreta, y de bailadora, que a corrillos se hablaba della en toda la Corte. Pusiéronse a bailar a la sombra en la calle de Toledo, y de los que las venían siguiendo se hizo luego un gran corro y en tanto que bailaban. Make the arrow leading into the subheadline the same height as the cap height of the text.Acabáronse las vísperas, y la fiesta de Santa Ana, y quedó Preciosa algo cansada pero tan celebrada de hermosa, de aguda y de discreta, y de bailadora, que a corrillos se hablaba della en toda la Corte. The subsequent lines will align with the first letter, not the arrow. It should stand on the left, separated by a space before the first letter of the first word. Use the arrow icon to lead into the subheadline. Subheadlines build on the headline and draw readers to more information in the body copy. At right are examples of one-, two- and three-line layouts. Avoid exceeding three lines, if possible. The best headlines are short and to the point. Make the arrow 58% of the cap height of the type, and insert it as a text object, separated from the last letter by one space. Use the arrow to lead the eye from the headline to subheadline. How much depends on the words used and is at the designer's discretion. To reinforce the messaging, place the next line staggered to the right-forward. Its height should be approximately 1.67 multiplied by the text cap height. The parallelogram behind the text is white, and the slant matches the angle in the type. When using the tagline in marketing copy, capitalize the first letters in "fearlessly forward" and italicize both words: Fearlessly Forward. To the right is a schematic for how to set headlines and body copy in print applications.
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