Wilson Harvey - 1000 type treatments : from script to serif, letterforms used to perfection

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1000 Type Treatments.

Wilson Harvey/Loewy

Part of the Loewy Group

From script to serif, letterforms used to perfection.

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Introduction.

Chapter 1

Flyers +

leaflets.

+ postcards, invitations,

mailers, handouts

00010186 01870366 03670492

Chapter 2

Books +

magazines.

+ hardcover, paperback, newsletters

Chapter 3

Logos +

stationery.

+ business cards, letterheads,

compliment slips

04930747

Chapter 4

Broc

+ annual rep

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TYPE Treatment

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253-482-1

482-1

d from 1000 Type

urgess and Ben

ign, London

+

ery.

eads,

04930747

07480887 08881000

Chapter 5

Posters +

banners.

Chapter 4

Brochures.

+ annual reports, booklets, folders

Chapter 6

3D +

outdoor +

digital.

+ packaging, signage, web, film, tv

Index by agency.

About the author.

Design, research, judging

Paul Burgess.

Ben Wood.

Artwork

Peter Usher.

Additional photography

Kev Dutton at Fotofit.

Fonts

Helvetica Neue.

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Introduction.

1000 Type Treatments

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1000

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004/005

Designers who push the

boundaries of type are not a new

phenomena. El Lissitzky, Moholy-

Nagy, Futurism, Dadaism, de Stijl,

and members of the Bauhaus all

helped to kick-start typographic

experimentation and develop

the foundation of typographic

refinement. Every decade has

given us a new approach, as well

as a new appreciation of how to

handle type. Not unlike what is

done in the music industry, it is

easy for us to be retrospective,

labeling eras by their associ-

ated trends. It is much harder,

however, to be introspective,

and determine what defines

typography today. To find out,

we need to stand back and take

a snapshot of how designers and

typographers across the world

are tackling type. Each designer

has his or her personal influences

and inspirations; each pushes his

or her work, clients, and peers;

and each designer influences

the ways in which type is treated

today, and how it will be treated

in the future.

Art and popular culture have

led us through an era of post-

modernism and, more recently,

shockism. This movement

has subsequently influenced

design, resulting in typographic

experimentation and an age of

calligraphic freedom

a backlash to the digital design

age. Typographers are once

more enjoying a freedom to

explore that technology has

spent so long hindering. That

said, clarity, structure, and

information handling still, and

will always, have their place in

todays eclectic design mix, prov-

ing there is still plenty of room for

subtlety, beauty, and refinement.

Typography is a niche, it is a

passion, and its often a field for

huge debate and banter amongst

those who care about it. But type

is essential: it directs us, it clari-

fies information, and it coerces

us to buy productsimpressive

accolades for an area of design

so often overlooked by

the public.

Unsurprisingly, the layman would

find the idea of 1,000 different

type treatments an incompre-

hensible, peculiar notion that, at

the end of the day, is of little or

no interest. To those of us in the

design community with an eye for

typographic excellence, the idea

of a tome dedicated entirely to

capturing the worlds most

exquisite typographic detail is

nothing short of tantalizing.

Nondesigners have little idea

how much typography affects

their daily liveswhich is not

really a bad thing, as it means

were doing our jobs well. But

to the designers who spend

their lives making type work for

the rest to ignore, this book is

for youI hope it inspires. For

everyone else, I hope it sparks an

appreciation, an understanding,

and above all, a passion for type.

Paul Burgess

WilsonHarvey/Loewy

TYPE Treatment

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