{"id":641,"date":"2012-04-27T05:47:57","date_gmt":"2012-04-27T05:47:57","guid":{"rendered":"http:\/\/www.oert.org\/?p=641"},"modified":"2023-01-28T00:25:48","modified_gmt":"2023-01-28T00:25:48","slug":"typographic-programs","status":"publish","type":"post","link":"https:\/\/www.oert.org\/en\/typographic-programs\/","title":{"rendered":"Typographic Programs"},"content":{"rendered":"\n
Created by: Marcela Romero<\/div>\n\n\n\n
\n

As a book designer, I have worked on several complex books in which more than one typeface were needed in order to clarify things in the text and generally, in those cases, it is often quite useful to mix a sans and a serif typeface. The problem was always which ones to choose, though\u2026 It became clear to me that the best solution for a complex text was to use a combination of a serif and a sans that share a common ground. <\/p>\nRevista tipoGr\u00e1fica 53<\/em><\/cite><\/blockquote>\n\n\n\n

This problem introduced by Majoor and the solution he proposes has several specific examples.
By the middle of this century photocomposition was already common use, the first computers and transferable letters appeared and in that context, the Univers typeface (1954\/57) designed by Adrian Frutiger Deberny & Peignot, was the first of these examples. Frutiger proposed a method to rationally arrange the great number of variables that composed this typeface, with variations in weight, width and axis. This typography program is composed of 21 systems. Later on, the Univers program was commercialized by Monotype Corporation.<\/p>\n\n\n\n

This typeface family had the aspiration of being universal, adaptable to all types of compositions (linotype, movable types, photocomposition) with different versions designed for each printing method.<\/p>\n\n\n\n

Up to now, there has never been a typeface with such an extensive number of variables and its presentation reinforced the programmatic idea with which variables had been generated. Frutiger proposed that the terms “bold”, \u201cnarrow\u201d, etc be left in disuse and replaced by a numeric system that established the relation between variables.<\/p>\n\n\n\n

\"Programa:<\/a>
El centro del sistema est\u00e1 en la Univers 55, equivalente al tipo est\u00e1ndar. El eje vertical muestra diferentes pesos del trazo (toda variable que comience con la misma decena tiene el mismo grosor). El eje horizontal organiza los anchos de los signos, desde los m\u00e1s anchos hasta los m\u00e1s estrechos, con sus respectivas versiones it\u00e1licas. Las unidades impares identifican a las redondas, las pares a las it\u00e1licas. Si se mira una columna del esquema se ver\u00e1 signos de igual ancho y eje y su color se ir\u00e1 incrementando al ensanchase el trazo.<\/figcaption><\/figure>\n\n\n\n

The Univers program allows the user to obtain a wide range of color contrasts, width, tilting, and weight, to meet the needs for a hierarchy in a complex text within a single typeface family.<\/p>\n\n\n\n

Serial families<\/h3>\n\n\n\n

This name is proposed by Muriel Paris in the Brief Manual of Typographic composition (Paris, 1999) to refer to typeface families with more than one style, such as Rotis, Stone, Lucida, Thesis, Officina, Relato and Scala, among many others.<\/p>\n\n\n\n

\"Familias<\/a>
Los contornos negros corresponden a variables con serif, los signos verdes a la sans serif.<\/figcaption><\/figure>\n\n\n\n

Hay cla\u00adros an\u00adte\u00adce\u00adden\u00adtes de fa\u00admi\u00adlias se\u00adria\u00adles en la his\u00adto\u00adria. Ale\u00adjan\u00addro Lo Cel\u00adso ci\u00adta al\u00adgu\u00adnos en su no\u00adta \u00abLa fa\u00admi\u00adlia se\u00adrial. Nue\u00adva es\u00adpe\u00adcie en la flo\u00adra y fau\u00adna ti\u00adpo\u00adgr\u00e1\u00adfi\u00adcas\u00bb, pu\u00adbli\u00adca\u00adda en re\u00advis\u00adta ti\u00adpo\u00adGr\u00e1\u00adfi\u00adca n\u00fa\u00adme\u00adro 47, co\u00admo el ca\u00adso de Ro\u00admu\u00adlus, de Jan van Krim\u00adpen, crea\u00adda pa\u00adra Ens\u00adche\u00add\u00e9 y Mo\u00adnoty\u00adpe a co\u00admien\u00adzos de la d\u00e9\u00adca\u00adda del 30.<\/p>\n\n\n\n

There are clear records of serial families in history. Alejandro Lo Celso mentions some of them in his note \u201cThe serial family: New species in the typographic flora and fauna\u201d published in the tipoGrafica Magazine, number 47, as in the case of Romulus, Jan van Krimpen, created for Ensched\u00e9 and Monotype in the early 30s.<\/p>\n\n\n\n

According to Lo Celso the first contemporary serials are Demos, by Gerard Unger, designed for the German firm Hell in 1976, a typeface with serif and in 3 weights and which took into consideration the low resolution of screens at that moment. The following year, Hell implemented the use of Praxis, a sans designed based on the same basic elements. Later on, Flora, an italic, was added to the program. Even when at the beginning they were not designed as a serial, they function as such.<\/p>\n\n\n\n

\"Programa:<\/a>
Programa: Rotis, manufacturado por Agfa Compugraphic.<\/figcaption><\/figure>\n\n\n\n

Lucida<\/h4>\n\n\n\n

The Lucida program (1984) brings together a sans and a serif, devised to be printed in a laser 300 dpi printer without suffering any deterioration. Mathematic, phonetic and monospaced alphabets have also been developed in this program.<\/p>\n\n\n\n

\"Programa:<\/a>
Lucida Sans (Kris Holmes y Charles Bigelow, 1984); 9, Lucida Regular, It\u00e1lica, Bold y Bold It\u00e1lica. Lucida presenta serifas robustas y formas sint\u00e9ticas que resisten la erosi\u00f3n producida por la baja resoluci\u00f3n de las impresoras de escritorio.<\/figcaption><\/figure>\n\n\n\n

Ro\u00adtis<\/h4>\n\n\n\n

Otl Aicher in 1984 presented the Rotis program composed by 4 systems, one serif, one sans and two intermediate ones (Rotis Serif \u2013Roman\u2013, Rotis Sans Serif \u2013grotesque\u2013, Rotis Semi Serif \u2013semi Roman\u2013 and Rotis Semi Sans \u2013semi grotesque). The two hybrid variables present the transition between one system and the other, maintaining the basic features. This program broadened the possibilities for solving hierarchies within a family and was one of the first digital typographic designs.<\/p>\n\n\n\n

Sto\u00adne<\/h4>\n\n\n\n

Another typography program is Stone, designed by Summer Stone in 1984\/87, with 18 variables that cover not only style but technical reproduction requirements, designed to resist different resolutions without loosing legibility.<\/p>\n\n\n\n

Stone contains 3 subfamilies: serif, sans and informal, in Roman and italic and in 3 colors: medium, semibold and bold.<\/p>\n\n\n\n

Sto\u00adne con\u00adtie\u00adne tres sub\u00adfa\u00admi\u00adlias: se\u00adrif, sans e in\u00adfor\u00admal, en ro\u00adma\u00adna e it\u00e1\u00adli\u00adca; y en tres co\u00adlo\u00adres: me\u00addium, se\u00admi\u00adbold y bold.<\/p>\n\n\n\n

\"Programa:<\/a>
Stone contiene tres subfamilias: serif, sans e informal, en romana e it\u00e1lica; y en tres colores: medium, semibold y bold.<\/figcaption><\/figure>\n\n\n\n

Thesis<\/h4>\n\n\n\n

Was designed in 1994 by Luc(as) de Goot as graduation thesis of his university studies in Holland. It is a typography program that offers 3 alternatives: Thesis TheSans, TheSerif and TheMix. Each of these systems has 8 weight variables, as well as capitals and lower case numbers, mathematic symbols and miscellanea, adding to a total of 144 fonts. One of his objectives was to create a program that could be used as institutional typography which could solve with all communicative needs with a single family.<\/p>\n\n\n\n

\"Programa:<\/a>
Thesis Serif, Thesis Mix y Thesis Sans, dise\u00f1adas por Luc(as) de Groot en un proceso que tom\u00f3 5 a\u00f1os.<\/figcaption><\/figure>\n\n\n\n

Scala<\/h4>\n\n\n\n

This program includes Scala Serif (1990), Scala Sans (1993) and Scala Jewels (1996) and was designed the Dutch designer Martin Majoor. It was designed as an institutional typography for the Vredenburg Music Centre in Utrech. Serif has clear Bembo influences and the sans is a derivation of the serif. The Scala Jewels contains 4 display variables based in the Scala Bold capitals.<\/p>\n\n\n\n

Majoor has designed other serials. Telefont (list and text) for PT (Dutch telephone company) to use in its telephone directories; Seria (sans and serif) devised for literary texts, easy to read.<\/p>\n\n\n\n

\"Programa:<\/a>
El dibujo de las estructuras de las versiones romanas e it\u00e1licas de Scala y Scala Sans permiten apreciar su parentesco estructural. Este sistema ha sido adopta\u00acdo como tipograf\u00eda de uso corriente en ediciones peri\u00f3dicas.<\/figcaption><\/figure>\n\n\n\n

Currently there are many families designed as typography programs.<\/p>\n\n\n\n

Bibliography<\/strong><\/p>\n\n\n\n

    \n
  • MC LEAN, Ruari. Manual tipogr\u00e1fico.<\/em> Tellus, Madrid, 1988.<\/li>\n\n\n\n
  • COPPOLA , N. y FONTANA , R., Apuntes de tipograf\u00eda.<\/em> 1985.<\/li>\n\n\n\n
  • DE BUEN UNNA, Jorge.  Manual de dise\u00f1o editorial. 3.\u00aa edici\u00f3n, corregida y aumentada. <\/em>Trea Ediciones, Espa\u00f1a, 2009.<\/li>\n\n\n\n
  • LO CELSO, Alejandro, \u201cLa familia serial. Nueva especie en la flora y fauna tipogr\u00e1ficas\u201d, Revista tipoGr\u00e1fica 47.<\/em><\/li>\n\n\n\n
  • MAJOOR, Martin, \u201cMi filosof\u00eda del dise\u00f1o tipogr\u00e1fico\u201d, Revista tipoGr\u00e1fica 53.<\/em><\/li>\n<\/ul>\n\n\n\n

    <\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

    System of systems. Typographic programs, serial families and super families. Construction criteria. Uses. Description of some programs.<\/p>\n","protected":false},"author":1,"featured_media":2533,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[25,19],"tags":[],"_links":{"self":[{"href":"https:\/\/www.oert.org\/en\/wp-json\/wp\/v2\/posts\/641"}],"collection":[{"href":"https:\/\/www.oert.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.oert.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.oert.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.oert.org\/en\/wp-json\/wp\/v2\/comments?post=641"}],"version-history":[{"count":0,"href":"https:\/\/www.oert.org\/en\/wp-json\/wp\/v2\/posts\/641\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.oert.org\/en\/wp-json\/wp\/v2\/media\/2533"}],"wp:attachment":[{"href":"https:\/\/www.oert.org\/en\/wp-json\/wp\/v2\/media?parent=641"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.oert.org\/en\/wp-json\/wp\/v2\/categories?post=641"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.oert.org\/en\/wp-json\/wp\/v2\/tags?post=641"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}