"Reading" Texture. An excerpt from the book "The Art of Typography. Visualization: Trends"

Contents:

• Material and texture in creating the visual image of the text. Material as a metaphor

AST Publishing House has published Ekaterina Lavrentyeva's book "The Art of Typography. Visualization: Trends." We are pleased to present an excerpt from this work, which examines the material used for applying text. The book covers key aspects of typography and visualization, as well as current trends in this field.

Material and texture in creating the visual image of text. Material as Metaphor

The graphic form of a font, the compositional placement of text on the page, the outline and proportions of letters are important aspects that type designers and graphic design historians pay attention to. However, the quality and nature of the surface on which the text is placed has an equally significant impact on the figurative expressiveness of information. Different materials and textures can significantly alter the perception of a font, emphasizing its features or creating additional accents. Thus, to achieve maximum expressiveness, it is important to consider not only the font design but also factors associated with its medium.

A letter in different contexts and on different surfaces conveys shades of meaning, even before we read the word. For example, the letter "A" on a bus stop, on an Alfa-Bank sign, or in a children's primer sounds the same, but behind it lies unique images. We perceive not only sound but also texture: a painted metal shield, a neon sign, or a simple outline on a thick textbook page. The most common example of texture as a symbol is the ink letters on seals and postmarks. They not only convey information about shipments and addresses but also emphasize the official nature of the document.

Playing with typeface shape reflects the historical roots of the first written languages, where the traces of writing tools shaped unique characteristics and writing styles. In modern typeface design, this interaction creates visual appeal and conveys meaning, adding depth and context. Emphasizing the texture and shape of type helps create unique identities that not only attract attention but also enhance comprehension.

In the Sumerian kingdom, scribes used rectangular sticks and palm-sized clay tablets. Their writing system is known as cuneiform, as signs were formed from triangular impressions (wedges) that were combined in varying numbers and orientations. The surface characteristics of the tablet influenced the writing style and shape of each sign. Cuneiform became the basis for the development of writing in the ancient world and significantly influenced the cultures of subsequent civilizations.

The history of writing offers numerous examples of different approaches to text creation. The Egyptians used a stiff reed stylus on papyrus, while the ancient Chinese employed a soft brush on loose rag paper. The Romans, however, worked with wax tablets and metal stylus. A sign's grapheme was shaped not only by the rules of the typeface but also by the material on which it was created—be it metal, sand, leather, or fabric. Thus, the sign and its meaning invariably depended on the material used.

Materiality in book publishing manifests itself in both technology and typography. Typefaces and press impressions are essential elements of this process. Since the 15th century, letterpress printing has become the standard for all book publishing, providing a unified foundation for book production. This technological evolution has significantly impacted information accessibility and the development of reading culture.

For a type designer, the integrity of the text is important, determined by the weight and character of each individual letter. In the mid-15th century, Johann Gutenberg developed type-casting technology, which changed the perception of the letter I. The emergence of new professions, such as publisher, printer, calligrapher, and engraver, significantly expanded the possibilities of typography. With the introduction of type, each letter acquired the status of a unique element, becoming a material object. Metal type could be easily manipulated, unlike marks left by a pen on paper. This innovation opened new horizons for typographic design and had a profound impact on the development of printing.

The relationship between a letter and its impression on paper plays a key role in typography. The design of a typeface directly affects the quality of printing. The typefaces used in incunabula were adapted for printing on rough, raw, hand-made paper. If you try to use these typefaces for offset or letterpress printing on coated paper, their original features can be significantly lost. John Baskerville, an 18th-century English publisher and printer, created a new typeface with contrasting element thicknesses. However, to successfully implement it, he had to develop a new type of paper, since the thin serifs did not receive a clear impression on the loose surface. This emphasizes the importance of a suitable combination of typeface and paper for achieving high print quality.

Each printed letter in a text set has a unique texture and characteristic impression. Interest in this aspect increased when modern typefaces began to be developed based on the classical serif types created during the French and Italian Renaissance. In 1957, the Department of New Fonts at the Research Institute of Printing Machinery invited Moscow artists, including Vadim Lazursky, to design new typefaces. Lazursky initially manually enlarged typefaces by Claude Garamond and Francesco Griffo by four times. Among the many sketches from that period, one can find drawings that show how the artist, faced with the need to work at a significantly increased scale (200 points or 50 mm capital letter height), defined the style and form of future typefaces. These letterform sketches are impressive in their expressiveness and modern approach. Enlarged copies of text fonts, with characteristic nuances of ink application and manual errors, acquired astonishing graphic qualities in large format.

The contemporary use of typefaces in the 21st century continues to be relevant. Many type designers, such as Massimo Pesce and the Dutch studio Novo Type, turn to the typographic heritage of the late 19th and early 20th centuries. They draw inspiration from the aesthetics of wooden typefaces, working with both original pieces and modern technologies like laser cutting to create wooden typefaces. These typefaces complement digital versions of fonts. Hand-feeling a letter allows for a deeper understanding of it as an object with many facets. Each character left on paper can be imperfect and unique, emphasizing its individuality and artistic value.

A mirror image of the letter was cut into the end face of an iron block, creating a die (punch). This die was used to form a depression in a soft metal such as copper, creating a matrix for casting typefaces. The matrix was placed in a type-casting mold, into which a non-shrinking alloy was then poured. After the alloy cooled, the two-part mold was opened, and the finished typeface was removed. This type-casting process ensures high print quality and product durability, making it a popular choice in the printing industry.

In his book "Typography", Emil Ruder offers a deep understanding of the fundamentals of print design. In the seventh edition, published by Verlag Niggli AG in 1998, on page 70 the author examines the key aspects of typographic design, including the choice of fonts, text placement and the use of space. This publication becomes an indispensable source of knowledge for designers and print professionals striving to create harmonious and effective visual solutions. Ruder focuses on the importance of typography as a communication tool, emphasizing its impact on the perception of information. The book is a relevant guide for anyone looking to improve their typographic design skills.

Vladimir Efimov in his article "Lazursky Typeface: From Hand-Drawn to Typeset Font", published in the magazine "HOW" In 1997, Efimov examines the evolution of the Lazursky typeface. The author analyzes the transition from hand-drawn letters to movable type technology, emphasizing the importance of this process for typography and design. The article offers readers a deep understanding of the changes in typeface art and their impact on modern printing methods. Discussing key aspects of Lazursky's work, Efimov emphasizes the significance of the typeface for the development of graphic design and typography in general.

Also study the following materials:

• To the USSR - with love. An excerpt from the book "Alexander Rodchenko. In Paris. From letters home"
• "The hooligans were outraged by the large black ones." An excerpt from the book "Man Cannot Live Without a Miracle"
• A dark room behind a cardboard wall. An excerpt from the book "Crossroads of the Russian Avant-garde"