#typographic research

[yeoldenews]

While we’re on the subject of names, is there an explanation for how traditional nicknames came about that are seemingly unrelated to, or have little in common with, the original name?

ie- John/Jack, Richard/Dick, Henry/Harry/Hank, Charles/Chuck, Margaret/Peggy/Daisy, Sarah/Sally, Mary/Molly, Anne/Nan, etc

I am actually over a week into researching a huge follow-up post (probably more than one if I’m being honest) about the history of nickname usage, so I will be going into this in much, much more detail at a hopefully not-so-later date - if I have not lost my mind. (Two days ago I spent three hours chasing down a source lead that turned out to be a typographical error from 1727 that was then quoted in source after source for the next 150 years.)

As a preview though, here’s some info about the names you mentioned:

The origins of a good portion of common English nicknames come down to the simple fact that people really, really like rhyming things. Will 🠞Bill, Rob🠞Bob, Rick🠞Dick, Meg🠞Peg.

It may seem like a weird reason, but how many of you have known an Anna/Hannah-Banana? I exclusively refer to my Mom’s cat as Toes even though her name is Moe (Moesie-Toesies 🠞 Toesies 🠞 Toes).

Jack likely evolved from the use of the Middle English diminutive suffix “-chen” - pronounced (and often spelled) “-kyn” or “kin”. The use of -chen as a diminutive suffix still endures in modern German - as in “liebchen” = sweetheart (lieb “love” + -chen).

John (Jan) 🠞 Jankin 🠞 Jackin 🠞 Jack.

Hank was also originally a nickname for John from the same source. I and J were not distinct letters in English until the 17th Century. “Iankin” would have been nearly indistinguishable in pronunciation from “Hankin” due to H-dropping. It’s believed to have switched over to being a nickname for Henry in early Colonial America due to the English being exposed to the Dutch nickname for Henrik - “Henk”.

Harry is thought to be a remnant of how Henry was pronounced up until the early modern era. The name was introduced to England during the Norman conquest as the French Henri (On-REE). The already muted nasal n was dropped in the English pronunciation. With a lack of standardized spelling, the two names were used interchangeably in records throughout the middle ages. So all the early English King Henrys would have written their name Henry and pronounced it Harry.

Sally and Molly likely developed simply because little kids can’t say R’s or L’s. Mary 🠞 Mawy 🠞 Molly. Sary 🠞 Sawy 🠞 Sally.

Daisy became a nickname for Margaret because in French garden daisies are called marguerites.

Nan for Anne is an example of a very cool linguistic process called rebracketing, where two words that are often said/written together transfer letters/morphemes over time. The English use of “an” instead of “a” before words beginning with vowels is a common cause of rebracketing. For example: the Middle English “an eute” became “a newt”, and “a napron” became “an apron”. In the case of nicknames the use of the archaic possessive “mine” is often the culprit. “Mine Anne” over time became “My Nan” as “mine” fell out of use. Ned and Nell have the same origin.

Oddly enough the word “nickname” is itself a result of rebracketing, from the Middle English “an eke (meaning additional) name”.

I realized earlier this week that my cat (Toe’s sister) also has a rebracketing nickname. Her name is Mina, but I call her Nom Nom - formed by me being very annoying and saying her name a bunch of time in a row - miNAMiNAMiNAM.

Chuck is a very modern (20th century) nickname which I’ll have to get back to you on as I started my research in the 16th century and am only up to the 1810s so far lol.

[wheeloffortune-design]

wanted to show the progress on Mrs. Victoria cover page.

I did a lot of research and a lot of different sketches before landing on the first image, don't believe I just pulled it out of my butt lol. But once my choice was made I sketched it (the first two images) in a café between two meetings. 90% of creation is preparation.

After that I used the sketch as a template and traced it using vectors on Illustrator. It allowed me to rework the lines, angles and curves to make it regular and lisible.

The work is far from done, I just wanted to share the typographical work, which is one of my favorites.

Here are the titles of my first two books:

This one I just hand traced over an existing font, but I wanted to add an organic texture. The whole album was done like that.

And this one, I drew the title font myself, I quite like it.

I just like typography.

[elentarial]

Miscalculation

Dear Morifinwe,

I recently had the privilege of reading your treatise on Dwarven tariffs and found it fascinating reading indeed. I don’t suppose you hear that often. However, I was wondering if you could perhaps clarify the situation on the 36th page, just under the table of tares of standard shipping containers. I was under the impression when one converted between ounces and gallons (which, why aren’t you using liters as a standard unit of liquid measurement??), the multiplier is 0.0078126, but you have it listed as 0.0078125. Does the Naugrim measure alcoholic liquids differently? As you have only two sentences describing the conversion of Dwarvish mead, I can not determine whether it is a typographical error or if I have been misinformed. If the latter is the case, any more explicit suggestion or direction would be appreciated since (as I have pointed out) your explanation in the paper is relatively brief.

Sincerely yours,

Turukano

Dear Turukano,

I am delighted that you enjoyed my protocols for trade in East Beleriand! In regards to your question about whether dwarves measure alcohol differently than other liquids, no Turno, an ounce is an ounce. You have been misinformed. The conversion factor is indeed 0.0078125.

Thank you,

Carnistir Morifinwe,

Dear Moryo,

Thank you for the quick and brief reply. However, I digress, the conversion multiplier is 0.0078126. It was that in Tirion, and it is that now. Please explain your computations. 

Looking forward to your reply,

Turukano

Dear Turno,

I am the one who devised that conversion. I don’t need to prove my work to you because I came up with it in the first place. Any possible discrepancies are due to rounding errors. The conversion is valid.

Carnistir

Dear Moryo,

I am well aware that you first calculated the conversion between ounces and gallons. I sat on the council that granted you the defense of such a claim, and if you will recall, I questioned your math then. You were wrong in Tirion, and you are wrong now.

Awaiting your reply,

Turgon

Turgon,

How delightful to know you remember our time together at the Royal Academy of Arts and Sciences. I have no recollection of your involvement in my defense, but I really try to avoid thinking of you. Were you there? I thought you were too busy being henpecked by the campus gulls to accomplish anything, research or otherwise.

Carnistir

Moryo,

I generally thought you were one of the better brothers; don’t be an ass. Just admit you are wrong. 

Sincerely,

Turgon Turukano,

 Lord of Nevarast,

 High Prince of the Noldor

My dearest Turukano,

What a lovely title that is. Quite fitting for your already overinflated ego, but I genuinely hate to remind you that you are a second son and not, in fact, the High Prince of anything. Unless, of course, condolences are in order, then I also do not care because I find your brother infuriatingly obnoxious. I would feel for Nelyo, though. 

Yours,

Moryo

Dear Carnistir,

Nelyo…remind me, is that your eldest brother or our grandfather? I can never remember who was born first, him or my father. Regardless, he’s ancient and an inappropriate match for my brother. 

But I beseech you, dearest cousin. Please take a look at your defense from Tirion. I believe there is a note regarding the conversion on the final copy. I don’t have a copy with me, but I am sure you must have kept one for yourself. 

Yours,

Turgon

My darling Turno,

At least we agree on one thing. Fingon and my brother are terrible for one another. 

I do happen to have a copy in my archives. I will check for this mythical correction and have my scribe translate a copy for you. I will enclose it in my next reply, as it’s rather embarrassing to doubt the work of scholars. 

With love,

Moryo

Turukano,

Fuck you. There was no correction; the rate has always been 0.0078125. This exchange has been a complete waste of my time, and I will implore Himring to approve an additional one point five percent tax on all limestone coming from and all other goods going to Vinyamar. 

Sincerely,

Morifinwe

Despite all of Caranthir’s immense irritation, the final letter to Nevarast is returned some months later by an exhausted raven. Shortly thereafter, he receives word from Hithlum that Turgon and one-third of the Noldor forces in West Beleriand have disappeared. 

@silmarillionepistolary

For @cilil (who suggested Caranthir and Tax Day as a prompt) and @dalliansss (who originally did the heavy lifting on building Caranthir’s taxation empire).

Miscalculation (on AO3)

[997]

just found an incredible website with free fonts with support for many languages (vietnamese included!) and im obsessed

[jewishbarbies]

I hate to be one of those “media literacy is dying/dead, academia is dead” people, but I feel like a lot of the misinformation and bias on apps like TikTok is because people don’t know what a source is and how to source information. People take everything as primary sources and not only that, but nobody uses the CRAAP test anymore.

CRAAP = currency, relevance, authority, accuracy, and purpose.

Currency: the timeliness of the information

When was the information published or posted?

Has the information been revised or updated?

Is the information current or out-of date for your topic?

Are the links functional?

Relevance: the importance of the information for your needs

Does the information relate to your topic or answer your question?

Who is the intended audience?

Is the information at an appropriate level (i.e. not too elementary or advanced for your needs)?

Have you looked at a variety of sources before determining this is one you will use?

Would you be comfortable using this source for a research paper?

Authority: the source of the information

Who is the author/publisher/source/sponsor?

Are the author's credentials or organizational affiliations given?

What are the author's credentials or organizational affiliations given?

What are the author's qualifications to write on the topic?

Is there contact information, such as a publisher or e-mail address?

Does the URL reveal anything about the author or source?

examples: .com (commercial), .edu (educational), .gov (U.S. government), .org (nonprofit organization), or .net (network)

Accuracy: the reliability, truthfulness, and correctness of the content, and

Where does the information come from?

Is the information supported by evidence?

Has the information been reviewed or refereed?

Can you verify any of the information in another source or from personal knowledge?

Does the language or tone seem biased and free of emotion?

Are there spelling, grammar, or other typographical errors?

Purpose: the reason the information exists

What is the purpose of the information? to inform? teach? sell? entertain? persuade?

Do the authors/sponsors make their intentions or purpose clear?

Is the information fact? opinion? propaganda?

Does the point of view appear objective and impartial?

Are there political, ideological, cultural, religious, institutional, or personal biases?

Why does nobody question the amount of asks and posts of people saying: “Hello, my name is *insert Arab name* and I need to get out of Gaza, please send me money to help me get out of Gaza.” We see all these videos of Gazans (some of the videos are actually of syrian people), but why does nobody question why there was a camera recording?

Why was there a camera perfectly in place at the right moment and the right time?

Why does nobody vet their sources anymore?

Why are people shutting down opinions from one side because that’s the side that is deemed as “evil” to them? To the point where the fucking HOUTHIS are being celebrated????!!!!! Hezbollah and ISIS are congratulated! All to hate the Jews.

Why are lies being passed as truth?

Why are conspiracy theories being regurgitated at such a high level?

Why are people failing to recognise their own logical fallacies?

These tiktokers call themselves journalists, yet forget about the ethics of journalism and journalistic integrity standards.

[pannaginip]

Baby Hero was born with congenital adrenal hyperplasia (CAH), a condition that affects the production of hormones in his body. Having CAH makes Hero intersex, and the type of CAH he has requires lifetime medication.

The couple is also able to secure some financial help from the Department of Social Welfare and Development. But explaining her son’s condition to the personnel handling her requests is always a pain, as they often don’t understand what CAH is.

The plight of the intersex community rarely comes into the national spotlight. But one time it did was when the Supreme Court (SC) sided with Jeff Cagandahan in a 2008 landmark ruling that paved the way for the community’s rights.

In 2003, at a regional trial court (RTC) in Laguna, Jeff filed for changes in his birth certificate, namely the change of his name from “Jennifer” to “Jeff,” and his gender from “female” to “male.”

The RTC sided with Jeff, though the Office of the Solicitor General tried to reverse the decision. In the end, the SC upheld it, saying that Jeff let nature take its course in allowing his body to reveal male characteristics. He was allowed to change his name and gender in his birth registry.

“Respondent is the one who has to live with his intersex anatomy. To him belongs the human right to the pursuit of happiness and of health. Thus, to him should belong the primordial choice of what courses of action to take along the path of his sexual development and maturation,” the decision read, penned by the late former associate justice Leonardo Quisumbing.

Jeff later on co-founded Intersex Philippines, and currently serves as a co-chair of Intersex Asia. Intersex Philippines has over 200 members.

Though it’s been more than a decade since Jeff’s legal victory, the lack of public awareness about intersex people and their concerns generally remained in the Philippines, even among medical professionals.

For instance, while there are plenty of endocrinologists across the Philippine health system, Jeff said that it is difficult to find “intersex-friendly” endocrinologists, who do not push intersex people to undergo procedures to conform with the sex they were assigned at birth.

Access to medicine remains the biggest challenge for intersex people in the Philippines, according to Jeff. Based on their group’s research, just one specialty compounding pharmacy, Apotheca, produces the medicines that most in their community need. It’s Metro Manila-based, which makes it even harder for those in the provinces to access them.

Jeff constantly receives reports of children with life-threatening intersex variations who succumb to their condition, as their parents were unable to acquire the medications that could have kept them alive.

According to Intersex Philippines, some intersex children undergo irreversible, unnecessary surgeries and treatment without their consent. Some also experience emotional harm from this treatment.

In November 2023, Bataan 1st District Representative Geraldine Roman filed the Cagandahan Bill in Congress, which seeks to make what Jeff achieved more accessible to intersex Filipinos.

While Republic Act No. 9048, enacted in 2001, allows Filipinos to correct clerical and typographical errors in their civil registry offices without judicial orders, the bill said that this does not “explicitly address the unique circumstances of intersex individuals.” Having their legal documents amended to align with their identities would acknowledge an intersex person’s right to self-determination, it said.

2024 Apr. 6

[k00294467]

Typographer Research - Paul Renner

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Paul Renner, born in 1878, was a German graphic designer and typographer celebrated for his groundbreaking work in modern typography. His most enduring legacy lies in the creation of Futura, an iconic typeface with its sleek lines and geometric simplicity.

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In 1927, Renner introduced Futura. Futura swiftly gained popularity, becoming synonymous with the Bauhaus movement and modernist design ethos. During World War II, Paul Renner faced challenges due to his opposition to the Nazi regime's cultural policies. His books were banned, and his printing press was confiscated. Despite these obstacles, Renner persevered, continuing to contribute to typography through writing and teaching.

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[wumblr]

advertising is literally so embarrassing on a conceptual basis from the ground up. like, i know for any given ad i see, after a rube goldberg machine of human misery has been slung into action during the last microseconds of every pageview i take -- primarily the reason any site's page load times remain like 56k dialup from the 90s -- meanwhile, an auction machine algorithm clearinghouse has sold my eyes based on the attributes they were able to cull from a covert op surveillance database, so that an image could be sold for pennies on the dollar regarding a product i will literally never buy. but it's none of that. what gets me is that each of these images were painstakingly designed by some dozen strong demon horde of college graduates who lost their soul before they matriculated, focus groupped again for pennies on the dollar so that the people in the focus group can try to form a meaningless opinion on a subject that matters to no one, in exchange for a gift card, probably, but by the time it's gotten there it's already gone through research and development and design phases, each scrobbling for a scrap of bread under threat of starvation, blindly insisting they know something about selling things that every other marketing office populated by vultures and guttersnipes doesn't, and this is all before they send it to the graphic designer that painstakingly selects a pantone swatch from their adobe subscription and a font that a typographer sold for someone's real money to slather on top of this brilliant sales idea that's been flushed down the sewer of commerce. and at the end of it all, "THAT'S what you came up with? bit shit innit" is what i find myself saying every time before i select the x the size of a hydrogen atom to tell a database at google that the whole experience was offensive

[nick-nocturne]

Hi, House of Leaves question, if you’re up for it. I tried to read House of Leaves a while back- I actually picked it up as research because I wanted to write something about haunted Houses and I’d heard it was a unique take. I didn’t have any difficulty following it through the typographical chicanery, I just thought it was kind of terrible? Let me preface this by saying im not just here to shit on a thing you like, I’m trying to figure out why you like it and how I can like it too. To me, it was just nested self inserts of the author fucking improbably hot women while people write articles about how amazing and interesting he is, and if you wade through that long enough there’s a spooky maze. That they keep cutting away from so the narrator self insert can fuck yet another improbably hot woman. I found it incredibly frustrating not because it was difficult but because it wouldn’t stop fucking around and just tell the story already (and also the way it treats its female characters made me want to personally neuter the author) Was I doing it wrong? Did I not read far enough? Everybody else seems to think this thing is amazing and it looks objectively terrible to me, and that makes me feel like I’ve got to be wrong somehow. Going to watch your videos about it as soon as I get the chance, but I thought I’d give asking you directly a try first. I think I stopped around the time it first starts doing the nifty looking multiple narratives on the same page with the text going different directions thing, because I got so mad at how cool that effect is and how Wasted it is because most of the stuff actually on the page is just lists of random household appliances and the names of a million photographers.

Oh, on the contrary--you were absolutely reading it correctly. That is the story... you just haven't learned why yet. It's also a sliver of the story, which is really, say... four stories. Or five. Here is the best advice I can give you: hate Johnny Truant all you want. Hate his fucking guts. Look at his lifestyle, look at his bragging while all of this incredible storytelling is supposed to be going on, and hate the fuck out of him if that's what he compels you to feel. But keep asking why this is a component of the story. Keep reading. Keep asking questions and let yourself be emotional. At the end, it will make more sense than you realize.

[drawdownbooks]

Collection of Research on Chinese Typography (中文文字设计研究选集) A three-volume collection of on-going research and writing about typography and design in China. Includes coverage of typography and design's history and development, conventions and contemporary practices, as well as applications in transcultural contexts.

Available at Draw Down Books

This set has been produced by The Type (Type is Beautiful), an online platform that has promoted an awareness of typography and design to the Chinese-speaking public for over ten years. The Type introduces Western typographic theories and knowledge to its readers, conducts independent research on Chinese typography, and aims to address both typography education in China, and the lack of exchange Chinese designers have typically had with the international community of designers.

This compact set includes:

上海活字：管窥现代中文字体设计史 Shanghai Type: A Slice of Modern Chinese Type History

The development of Chinese type design since the foundation of the People’s Republic in 1949 has cast a significant influence on contemporary practice. Yet this history has remained as much a mystery to the outside world as to local designers. This volume, based on designer Li Zhiqian's Shanghai Type research project, illuminates a portion of modern Chinese type design's history—tracing how it began as a groundbreaking state-initiated endeavor, and then gradually was transformed, fading in the age of commercialization. Consultant: Chen Qirui. Edited by Richor Wang.

跨文化字体设计：中文语境下的讨论 Transcultural Type Design: a Dialogue from China

Among Chinese-speaking designers, discourse around transcultural typography is still in its infancy. This volume is the record of the first of a series of open discussions moderated by The Type, which addresses both this global trend as well as the debate and strategies that are specific to the Chinese context. Moderated by Mira Yang, with panelists Peiran Tan, Li Zhiqian, Zheng Chuyang, Du Xiyao, Tien-min Liao, and Roman Wilhelm.

孔雀计划：重建中文排版的思路 Kǒngquè: Restoring the Mindset of Chinese Typesetting

The convention and wisdom of Chinese typography that was developed over centuries has failed to be inherited by designers today. This is caused partially by the domination of Latin-orientated computer software, coupled with negligence in Chinese design education. The Kǒngquè project aims to fill this gap by revisiting the typographic traditions of China in the modern context and restoring the traditions and mindset of native Chinese typography. By Eric Liu.

Editor-in-Chief: Rex Chen Series Editor: Mira Ying Translators: Hui Jing, Peiran Tan

Designed by Atmosphere Office

Published by The Type, 2020 Bilingual, text in English and Chinese

3 volumes: (Shanghai Type) 116 pages, with 2-color 7.5 × 11 inch mini-poster / (Transcultural Type Design) 122 pages / (Kǒngquè) 104 pages, b&w, 4.3 × 5.75 inches

ISBN: 978-1-91-624848-0-7

[uwmspeccoll]

Decorative Sunday

In 1823, an aspring young lawyer named Jules Labarte (1797-1880) married Joséphine Debruge-Duménil*, the only daughter of the wealthy art collector Louis-Fidel Debruge-Duménil (1788-1838). He was enthralled by his father-in-laws collection, one of the first major private collections of Medieval and Renaissance Art in France, and by 1835 he had abandoned the law to dedicate himself to the study of art history. A few years later, Debruge-Duménil passed away unexpectedly, and Labarte was charged with identifying and cataloging his collection of over fifteen thousand artifacts, a task he took on with great meticulousness. 

The resulting catalog was published in 1847 by La Librarie Archeonologique de Victor Didron with a 400 page introduction. This well-researched introduction became a highly sought after text, and Didron pressed Labarte for years to produce a second edition. Labarte refused for years, but allowed for a English translation, published in 1855 by J. Murray of London as Handbook of the Arts of the Middle Ages and Renaissance as Applied to the Decoration of Furniture, Arms, Jewels, Etc. 

The English edition only increased the appetite for a revised French edition, to which Labarte finally agreed. Between 1864 and 1866, Histoire des arts industriels au Moyen Âge et à l'époque de la Renaissance was published in Paris by A. Morel et Cie. in four volumes, with two additional volumes of plates. Printing was done by Henri Plon, an ancestor of 16th century Danish typographer Jehan Plon. The plates are primarily chromolithographs produced by Lemercier, the largest lithography firm in Paris at the time. Keep your eyes peeled for a follow up post where we will share images from the second album and discuss Rose-Joseph Lemercier (1803-1887).

The above images are all sourced from the first album of plates. Critics praised the book’s illustration for its rich colors and “photo-like accuracy.” You might look at the last image above (of the statue St. Anne and her Children by German artist Hans Greiff) and question that characterization based on the somewhat bizarre faces, but lo and behold, the faces on the actual statue are a bit strange! See for yourself:

Find more posts on publisher August Morel here. 

Peruse more Decorative Sunday posts here. 

-Olivia, Special Collections Graduate Intern

*Special shout out to Institute National d’Histoire de l’Art (INHA) for providing me with the first name of Labarte’s wife Josephine, who is most commonly (and annoyingly) referred to in the literature as “daughter of Louis-Fidel Debruge-Duménil” or “wife of Labarte.”

[k00300193]

Graphic Design Communication

Artist Research

A.M. Cassandre (1901 - 1968)

A.M. Cassandre was a renowned French graphic designer, poster designer and Typographer. His posters are characterised by their bold, geometric compositions, vibrant colours and striking imagery. I think my favourites are the wine posters he did for the wine distributor Nicolas. I love the simple shapes and how the red wine glows.

Cassandre also designed his own typefaces.

Bifur: His first designed typeface. Made up of upper-case letters only, wasn't very popular, but looks quite interesting in my opinion.

Peignot: after several years of research and experimentation, this sans serif typeface proved to be a success as well as a major contribution to Typography. It featured on many posters throughout the 1940's, and used for the logo of the TV production company Viacom.

[uncoatedletters]

Sometimes Always and Estúdio Daó combine to boldly brand Los Angelian book store Reparations Club

Sometimes Always and Estúdio Daó faced the challenge of crafting an identity that is, importantly, contemporary but historically referential; making sure they understood the racial issues felt specifically in the United States. With a resulting brand that is respectful but not dry, the duo have succeeded in balancing the sincerity of the context without undermining its impact; producing a typographically led brand that is graphically blazen, conceptually driven and unavoidably cool.

Referencing the typefaces found within their historical research, Sometimes Always and Estúdio Daó opted for Newlyn’s New Spirit Condensed alongside Franklin Gothic – in doing so creating a beautiful typographic contrast that is not only striking in its construction, but also equally representative of Reparations Club’s break from the norm, and the forming of their own convention.

Paired with an energetic color palette, indicating the urgency, impact, and significance of the store itself while simultaneously referencing the vibrancy of the community it is celebrating. Recurring throughout the brand is also the use and prominence of a square acting aesthetically as a framing device and conceptually symbolising the demarcation of space given to the BIPOC population.

[ineffable-gallimaufry]

brb just have to complain about a dumb comment i saw on reddit because. it's annoying me

so the original post is basically just the person asking "is this legit?" with the following image beneath

now of course i recognize like. a good half of these honestly so i am like. yeah duh. unicode compatible, not necessarily but... yeah!

then when i scroll down i get this response first thing

which. first let me do the petty thing and say. the page that the link on "fanfic" that they link to is this

which states that fanfic is defined as FICTIONAL WRITING (almost all of the coinage of these marks was in nonfiction writing) based on a preexisting FICTIONAL USUALLY subject. making new punctuation marks is not fucking fanfiction i don't know how to get this across but it really fucking isn't

"typographical fanfiction" would be like shipping the exclamation mark and the question mark together and writing a fiction piece about it! what this is, if anything is making a typographical oc! so. that's already pissing me off.

but secondly is the claim that only interrobangs are "legitimate" here. i mean, obviously, i take issue at the whole question of legitimacy because, what fucking qualifies a mark as legitimate? like, what makes the interrobang legit but none of these other marks legit, especially when some have been around for WAY longer?

if we were to say that inclusion within unicode proves legitimacy, there's a helpful thing in here for us!

it shows that the asterism (⁂), hedera (❦), interrobang (‽), percontation point (⸮), and snark mark (.~) are in fact in unicode! (it also says the irony mark is in unicode but i can only find the arabic backwards question mark and the percontation point again, neither of which fit the description given but whatever)

so if a mark being in unicode isn't enough to make it "legitimate", what's the fucking problem openapple?? let's say, this user isn't counting the asterism or hedera because they're not exactly punctuation. i mean, that's dumb because they're using the term "typographical fanfiction" so, somewhat indicating a lean towards typographical marks being punctuation for this sake. i mean i can hardly imagine the responder is going to say that an underscore is fanfic so... i don't think that's it

when it comes to the timing, these marks (at least the ones in unicode) aren't particularly new so...

the asterism (asterism simply being a word for a grouping of three stars) has been in use so long i can't even find a date on its origin and is simply a dinkus like the fleuron (or hedera, i'll get into that in a minute)! it's been used in fucking ULYSSES among plenty of other books. i would say if a mark is in multiple works of published literature, and FAMOUS literature at that, it's probably fucking legitimate you asshole.

so, i am already kinda pissed about the "asterisms aren't legit" thing. this can only mean great things for my ability to not get more annoyed about the "hederas aren't legit" thing, right.~

fleurons are another type of dinkus, similar to the asterism, used as a paragraph break. the hedera is a type of fleuron, specifically being named after the shape it has, which is the shape of a leaf of ivy. notably, the reason for this is because hedera is LATIN for ivy because, you guessed it, this "illegitimate fanfic" is as old as fucking ANCIENT ROME, in fact even older. literally fuck you openapple do some research idiot (i swear this is really REALLY annoying)

the percontation point has less legitimacy, as it only comes to us from... 1580?! holy fuck that's older than the G-DDAMN UNITED STATES OF AMERICA!! what the fuck man. it's literally... i shouldn't have to defend irony punctuation that's older than the usa from a worm like this, sorry. it was invented by henry denham, who owned probably one of the first printing houses ever (seeing as the printing press was pretty recently invented) and uh. okay i don't even want to get into this but i really wouldn't call it fanfic personally. considering.

the irony mark (which i can't find, rip) on the other hand is slightly newer, not older than the usa. but it was invented in belgium in 1841 so. what the fuck man. it was invented by marcellin jobard, who wasn't exactly hugely known but also he was a pretty talented guy who even got multiple medals for assorted things so. he owned two separate newspapers, worked with CHARLES BABBAGE to introduce railroads into belgium, had around 73 patents, and had his writing praised by the french president and VICTOR HUGO among others. seems pretty g-ddamn legit to me.

the snark mark is listed here as being a more user friendly version of the sarcmark, and it was invented. way more recently. it was invented in 2006 (so i mean. it would be having it's eighteenth birthday this year. it could legally vote.) while you could argue that people have written fanfic that old blah blah blah, i still do feel like when a punctuation mark has a website and shit. maybe i wouldn't just brush it off so callously.

BUT THAT'S NOT ALL!!

even the marks that aren't in unicode should arguably be up for grabs! because. i mean, i was going to try to propose a mark to unicode and it's a fucking headache so... idk man. i feel like it's just dumb. it's like if someone in the days of typewriters just said "oh, the em dash isn't legit because you can't type it" which is obviously wrong. so let's tango.

the acclamation point, authority mark, certitude point, doubt point, and love point (along with another irony point) were invented by french writer hervé bazin in his 1966 essay "plumons l'oiseau" in which he didn't only write about these new marks but an entire remake of the french language that was more logically written out and shit. and i know tumblr users love mocking french for being unpronounceable from sight so. i feel like you'd like him. anyways, that aside, he was a fairly well known writer for his other works of fiction. i feel like that should get something right?

the elrey was in contrast made WAY more recently (2013) but from what i can see online i do think people are trying to get it into unicode + it is pretty helpful imo so. even if it isn't legit (whatever that means) it is like. nice. so fuck you it's legit now.

the exclamation comma and question comma were patented in 1992, losing the patent a bit later, etc etc whatever. i mean you could argue that they're legit but i mean. i can think of at least one author that could use these because. well they look so much better than just putting a—? in the middle of a sentence so. anyways. they're like. nice. also.

and quick side tangent on the only legit one in openapple's opinion. the interrobang was invented in 1962 (around the same time as all of bazin's punctuation notably you huge prick) and was arguably forgotten about for a while. how's that more legit? because it's in unicode‽ i mean fuck unicode man!!

and then our last fun guy is the friendly period, invented in 2010. and also i think this one probably falls under less legit but it's also helpful! i mean, i swear, everyone complains about tone tags until people propose new punctuation about it and then they're just jerks.

so maybe my arguments for the last few were a bit weak but... fuck you openapple. you're wrong. and this was just me trying to refute this because. i am a bit pissed that everyone was responding to them with positivity when they were SO DAMN WRONG I COULDN'T HELP MYSELF

anyways i will stop being mad about this now. but grrr ugh

[viviandoangrad604]

SDL Artist Research - International

Kenya Hara (Graphic Designer) - "White", 2010

Kenya Hara is a Japanese graphic designer and curator who has made a name for himself through his innovative and minimalist design approach. Hara often incorporates elements from traditional Japanese aesthetics and philosophy, which has helped him shape the design language of MUJI, a Japanese lifestyle brand, during his tenure as the art director. Throughout his career, Hara has emphasized the concept of "emptiness" in design, which encourages users to interpret and imagine things for themselves. He believes that design should not be dominant but instead should create a harmonious relationship between the user and the object.

His book: "White", has a minimalist aesthetic and a clean type grid. Elements are going in a vertical direction, which is an interpretation of traditional Japanese text. The works are simple, elegant, yet legible and effectively deliver the messages. Colours are also very simplified and were used to code a design section. I resonate a lot with the cleanliness of these designs, and I am inspired to cut down all the unnecessary details to portray a minimalist yet practical typographic experience. 

Max Ernst (Artist) - The Gramineous Bicycle Garnished with Bells the Dappled Fire Damps and the Echinoderms Bending the Spine to Look for Caresses, 1921

Born in Germany in 1891, Max Ernst's early studies spanned philosophy, psychology, and art across different cities. Embracing Surrealism's mission to express the irrational and subconscious, he pioneered techniques like automatism, infusing dreamlike elements into his work. "Frottage" involved pencil rubbings over textures, "Grattage" unveiled underlying textures by scraping paint, and "Collage" combined diverse materials for layered compositions. Ernst co-founded the "Collège de 'Pataphysique," a group championing unconventional art. Throughout his life, he continually experimented with techniques, leaving an indelible mark on Surrealism and modern art.

The Gramineous Bicycle Garnished with Bells the Dappled Fire Damps and the Echinoderms Bending the Spine to Look for Caresses, 1921

Max Ernst's fascination with microscopic imagery led him to an unconventional canvas: a teaching chart. He transformed the chart's underlying diagram, possibly depicting cell mitosis, into a captivating painting with organic forms merging with mechanical elements. An inscription adds a whimsical, suggestive layer. Ernst's work blurs natural and artificial, microscopic and mechanical, inviting viewers to explore his intriguing creation.

Hannah Hoch (Artist) - The Bride (Pandora)

Hannah Höch, born in 1889, emerged as a pioneering German artist in the early 20th century. A vital figure within Berlin's Dada movement, she revolutionized art through innovative photomontage techniques. By cutting and arranging images, she challenged societal norms, deconstructed narratives, and critiqued cultural constructs. With a focus on feminist and political themes, Höch's work delved into gender roles, identity, consumerism, and media. Her lasting legacy lies in inspiring subsequent artists to experiment and convey ideas in new ways. Through fearless expression and boundary-pushing techniques, Höch redefined modern art and left an enduring impact.

"The Bride (Pandora)" likely exemplifies her exploration of feminist and cultural themes, inviting viewers to deconstruct societal norms and question conventional representations. With this piece, Höch's influence on modern art shines as she challenges boundaries and provokes thought through her artistry.

Paula Scher (Graphic Designer) - Bring in da noise, bring in da funk

Paula Scher, born in 1948, is a distinguished graphic designer celebrated for her innovative work. As a partner at Pentagram, she's renowned for shaping brands and creating captivating visual identities across industries. Scher's multidisciplinary approach blends typography, imagery, and color to craft dynamic designs that leave a lasting impact on the field of graphic design.

Over the years, her style has evolved into a remarkable blend of adaptability and versatility. Drawing inspiration from Russian Constructivism and Art Deco, she has truly redefined the essence of typography. From audacious and dynamic type art in 'Bring in da noise, bring in da funk' to the refined Citibank logo, she demonstrates an innate grasp of the subject's tone and rhythm. This understanding allows her to effectively communicate complex concepts in an easily comprehensible manner. Through her work, the theme and overarching idea effortlessly resonate through visuals and type. Her approach and demeanor underscore the importance of possessing a flexible and malleable style, enabling designers to adeptly tackle diverse projects.

Carol Twombly (Graphic Designer)

Carol Twombly, born in 1959 in Concord, Massachusetts, started her career as a sculpture artist at the Rhode Island School of Design. After seeing the practical appeal of the field of graphic design, she switched from sculpture to graphic design. Carol began working for Adobe Systems in 1988 and designed many fonts that Adobe is known for; Adobe Caslon, Chaparral, Charlemagne, Lithos, Myriad, Nueva, Trajan, Trajan Sans, and Viva. In 1994, she was the first woman and only the 2nd American to receive the Prix Charles Peignot award for excellence in type design. Below are the typefaces Carol created before she left Adobe and her graphic design career in 1999.

Veronika Burian - Maiola

She was born in 1973 in Prague, Czechia. She is a type designer who studied industrial design in Munich and then worked as a product designer in Vienna and Milan. She soon discovered her true passion for typography and graduated with distinction from the MA in Typeface Design course in Reading, UK, in 2003. After a few year working as a typographer at DaltonMaag in London, Veronika founded TypeTogether with José Scaglione, one of the most crucial independent type foundries.

Above is a project by Veronika, "Maiola". It was published in 2005 with Fontshop and then in 2010 with TypeTogether. The typeface was inspired by early Czech type design, mainly by Vojtěch Preissig and Oldřich Menhart. Maiola is a contemporary typeface that is mindful of its historical heritage, implementing old-style features and calligraphic reminiscences, more frankly so in the italic. It won numerous awards, including the Type Directors Club Certificate of Typographic Excellence in 2004."

[k00288674]

Typographic Hierarchy

(Art research)

I have myself been researching this, as it has and will relate to my project work.

It is basically organising words in a clear format so that one is more drawn to it and can read it easily. It also helps to focus the reader on the most important parts of the text.

This is done through the use of colour, weight, typeface, spacing and much more.

I have read an article (see link below) which has helped me to understand its importance.

I really like how it can help connect an audience with a piece of work. I also like how it can bring the text to life, by creating mood and tone. This then can enhance a piece of art, in my opinion.

I am glad I have looked into this too, as I feel it is knowledge that is quite wise to have. I would have never before really put much importance on typography.