Type Manifesto

Each group had to write a manifesto of Josef Müeller Brockmann's 9 typefaces which are: Garamond, Caslon, Baskerville, Bodoni, Clarendon, Berthold, Times New Roman, Helvetica and Univers.

Group 1 - A versatile serif font that has a deep historical context, yet a contemporary and harmonious design. Legible in a number of sizes, weights and languages, it was built for the very purpose of disseminating a complex and significant range of information.

Group 2 - Designed by William Calson in the early 18th century, this typeface is part of a group of serif typefaces. With short Ascenders and Descenders, this specific typeface has the purpose of fitting more characters on a page whilst at at the same time leaving sufficient blank space for aesthetics and eligibility. The italic form has a rhythmic calligraphic stroke that makes it easier to read when in a body of text. There is a moderately high contrast amongst the letterforms; this gives the typeface a formal identity. The italic P, Q, V, W and Z all have suggestion of a swash giving the font a hand-rendered feel.

Group 3 - Created in 1754 by an illiterate, self-taught painter, Baskerville went on to be considered one of the most legible typefaces there is. Due to its academic qualities it is used by many universities to make statements stronger and more believable. As Baskerville was a perfectionist, its crisp edges and embellishments and long running history make it a classic. It is considered an elegant, soft but strong, fine quality typeface. 

Group 4 - Bodoni designed by Giambattisa Bodoni from 1740 to 1813. Taken from the word 'Drdone' meaning modern. This may seem strange now as it seems very traditional and ornate yet at the same time was extremely modern. The bold graphic consistency and the fact each letter works together and would easily be reproduced. The type was designed as a transitional form between Fournier and Baskerville. During the years the type was designed when Italy was invading France and the country was in a period of transition, the typeface feels Italian and could have been a statement of new times for Italy. I think it is important to consider who could read at the time (not many) and the fact the Church would be the main source of literature for the country at the time. The high contrast in stroke weight is a recognisable feature of this type design and gives a grand and glamorous feel to the type. The typeface may have been deigned for signage and for higher end companies given the large divide in class at the time. Bodoni could have been a typographic tool to show a new modern and classy typeface for a company or business. The 'Vita nova da dante' poem written in 1828 was a extremely popular Italian poem of the time and was one of the first wide spread publications to print in Bodoni. The elegant and graphic and bold letterforms echoed Italian design and set a bench mark for the future of Italian culture.

Group 5 - A strong British type created to reflect to aspects of the Victorian British Empire.  This thick strokes melding into thick slabs serifs and fat ball terminals represent the hearty and unstoppable aspects of the British Empire.  Clarendon's increased contrast, opening the counters, allows it to be used on short passages of text.

Group 6 - Designed in 1896 and released in 1898, this typeface was created in the wake of the industrial revolution.  Akzidenz meaning 'trade type' and Grotesk meaning 'sans serif' its primary use is in industrial advertising and large signage.
The less rigid, geometric form of the type positively impacts the legibility of the type and the many variations make it very versatile.  
The understand forms of the type, and idiosyncrasies set it apart from other typefaces and make it perfect for statistical information with an emotional undertone.  The typeface is also devoid of the political baggage associated with Russian constructivism and Bauhaus.  Simple in a time that was far from simple; this is one of the first typefaces to have a fixed stroke width, making it the original sans serif typeface.  

Group 7 - Times New Roman is a Serif Monotype creation made in 1931 from The Times news paper as Stanley Morrison criticised the current type saying that it was badly printed and typographically antiquated.  The font was drawn and developed by Victor Larden an employee in the advertising department of The Times news paper.  People believe this typeface is based on earlier original work by William Starling Burgess, this is controversial as The Times never credited Burgess' 1904 work as an influence to their created Times typeface.  Times New Roman is still frequently used in book typography. Due to the adoption in Microsoft products, it has become one of the most widely used typefaces in history due to its legibility and directness.  Times was created in between a war time period where newsprint was powerful and seen by near enough everyone.  The typeface itself has lasted the test of time in that its purpose was built for physical print and still prominent in modern day digital print design.  The Times was and still is a strong standing and prominent paper in British Culture. 

Group 8 - Helvetica was created specifically to be neutral, to not give any impression or have any meaning in itself.  This neutrality was paramount, and based on the idea that type itself should give no meaning.  Designed in 1957 by Swiss graphic designer, this was a time when many companies were looking for a change as it was post war Europe.  It was the direct opposite of the fancy and decorative typography that covered advertisements at the time.  Still to this day it remains legible and versatile as you can use it in motion, one reason it's popular for signage and automaker and airline logos. 

Group 9 - Univers is a Swiss designed serif typeface. It is known for its legibility due to it being the first typeface to form a family of consistent designs. Due to its legibility it is used for a lot of signage in both Westminster and throughout Switzerland and in brands like Swiss Air Ebay. 
In terms of design the typeface has quite tall x-heights which is quite common with san serif fonts. It is quite a neutral design with a very subtle yet inside yet visible contrast in stroke. This slight contrast in stroke combined with curved terminals gives the typeface a sense of uniqueness, making it different to a ore standard typeface. The added curves also give a sense of friendliness which along the legibility make it ideal for its usage throughout UK tests and exams.

Images taken from: "Grid Systems in Graphic Design" - Josef Müeller Brockmann