Graphic design in the 90s included many
graphic elements influenced by fashion and the colorful design vibrancy of the
80s.
The only way to promote events was the famous
90s art style inspired by surrealism, cyberpunk, and psychedelia elements. What
seems easy to execute today with the help of technology was achieved with
multiple processes and multiple practices. Experimentation and imagination
helped create evocative in design and communication statements that today are
valued and revered. Technological limitations added to the challenge and helped
break free from traditional practices.
When
I teach in classes of Applied Art and ask students to experiment with fonts
they seem to be stuck and not ready to explore and enjoy the potential of
playing with fonts. Understandably so because technology comes with
limitations. The fear that the commercial artists of the previous century that
design will become machine-dependent is somehow coming true. The advertising
agencies, and design studios hugely depended on the construction of typography
on Letraset – A catalogue of fonts.
The
Letraset contained a range of New Typefaces that helped in changing
typographical trends. Some of the fonts were unique and innovative in many
ways. Letraset was a company known mainly for manufacturing
sheets of typefaces and other artwork elements that can be
transferred to artwork being prepared. Letraset has been acquired by the Colart group
and becomes part of its subsidiary Winsor &
Newton. Letraset continually enhanced its range of fonts and an
enormous number of fonts was added every year to the catalogue. There was a
comprehensive range of dry transfer lettering sheets that guaranteed to make
the job of designers and graphic artists easy. The reader is reminded that this
is the time when the majority of design illustrations and typography were done
manually. This was a transition time when the computers started reaching the
drawing boards of an artist who in turn were adapting to create innovative
designs using technology. The Letraset helped in facilitating the access of
computer effects created in the artworks created by the visualizers. Each year
new edition of the Letraset Catalogue was released adding the latest range of
graphic arts products.
The most sought-after
person in a design studio of a publication was the paste-up artist who was
responsible for creating immaculate artworks ready for printing. Paste-up is
a method of creating or laying out publication pages that predate the use of
the now-standard computerized page design desktop publishing programs. Completed,
or camera-ready, pages are known as mechanicals or
mechanical art. In the offset lithography process, the
mechanicals would be photographed with a stat camera to
create a same-size film negative for each printing plate required.
Paste-up relied
on phototypesetting, a process that would generate
"cold type" on photographic paper that usually took the form of long columns of text. These printouts were often a single column in a scroll of narrow (3-inch or
4-inch) paper that was as deep as the length of the story.
A professional known
variously as a paste-up artist, layout artist,
mechanical artist, production
artist, or compositor would cut the type into sections and arrange
it carefully across multiple columns. For example, a 15-inch strip could be cut
into 3 5-inch sections. Headlines and other typographic elements were often
created and supplied separately by the typesetter, leaving it to the paste-up
artist to determine their final position on the page.
The adhesive was then
applied to the back side of these strips, either by applying rubber cement/ rubber solution with a brush or
passing them through a machine that would apply a wax adhesive.
The adhesives were intentionally made semi-permanent, allowing the strips to be
removed and moved around the layout if they needed to be changed. The strips
would adhere to a board, usually, a stiff white paper (ivory Card about 300gms)
on which the artist would draw the publication's margins and columns, either
lightly in pencil or non-photographic blue ink, a light cyan colour that
would be ignored by the orthochromatic film used to make printing plates
in offset lithography. These art works were
treated with respect and care usually covered with a tracing sheet and mounted
on a hard paper. In case, there was a correction the adhesive on pasted strips
could be removed by applying spirit. Mostly magazines, newspapers, and other
recurring projects, often the boards would be pre-printed in this colour. The
quintessential skill position of a publication/advertising agency became
dismissed.
Other camera-ready
materials like photostats and line art would
also be prepared with adhesive and attached to the boards. Continuous-tone
photographs would need halftoning, which would require black paper or red film (which
is photo-imaged the same as black) to be trimmed and placed on the board in
place of the image; in the process of creating the negative film for the
printing plates, the solid black area would create a clear spot on the negative,
called a window.
Once a page was
complete, the board would be attached to an easel and photographed to create
a negative, which was then used to make
a printing plate.
In the beginning of
the 1990s, many newspapers started doing away with paste-up, switching to
desktop publishing software that allowed pages to be designed completely on a
computer. Following a style sheet, planning, margins, folds, gutter spaces,
alignment and illustrations became very easy. Such software included QuarkXPress, PageMaker,
and InDesign.
In another decade the whole printing scenario changed. The job of a paste-up
artist became redundant. Computers took over the Job of a Paste-up artist.
Whether it’s on our
phones, in books, or on websites, we’re constantly digesting written words. Be
it the instruction booklets to shop or fonts on our mobile screens fronts and
type is all around us. We often reflect on the power of the written word, but
rarely do we consider the designer’s role in matching the tone of the word or
sentence.
Behind the scenes, a
designer has taken the time to consider the relationship between the look of
the text and what the text says. In actuality, different moods, atmospheres,
and sentiments can be expressed simply through the type choice.
Typography builds
brand recognition
Not
only will good typography enhance the website’s personality, but your users
will subliminally begin to associate the typeface featured on your site with
your brand. Unique, consistent typography will help you establish a strong user
following, build trust with your users, and help to carry your brand forward.
Typography
influences decision making
Typography
holds the attention of the readers
Good
typography could be the difference between someone staying on your website for
one minute or half an hour. Your website must be visually stimulating and
memorable, and typography plays a huge role in this process.
The
different elements of typography
To
get started in typography, you first need to get to grips with the eight
essential typographical design elements.
Fonts
and Typefaces
There’s
some confusion surrounding the difference between typefaces and fonts, with
many treating the two as synonymous. A typeface is a design style that
comprises a myriad of characters of varying sizes and weights, whereas a font
is a graphical representation of text characters. Put simply, a typeface is a
family of related fonts, while fonts refer to the weights, widths, and styles
that constitute a typeface.
New Symbol Sheets
These
are few examples for how to use borders aesthetically so that they achieve
their intended purpose.
1. Subtlety
is key. For the most part, your order should be low-key. It’s meant to
draw attention to other elements, not to itself. Sometimes plain and simple
monochromatic boxes are perfect for keeping the focus on its contents; you’re
also better able to get creative with fonts and color if your border isn’t
overwhelming.
2. Border
strategically. What’s
the focus of your ad? Want to emphasize a date or specific theme? Border the
element that is most important in your image to keep the attention there.
3. Keep
it on the theme. Now for the easy part: Your border should always be
consistent with the theme at hand! If you’re using a graphic border, don’t
choose a floral theme for a winter ad. Make it something that complements your
idea, without creating any friction or confusion in the viewer.
To choose from Rules,
corners, dotted lines, ovals, dashes, flashes, arrows, brackets, pictograms,
flags, musical notations, and numerous symbols available in colors. These
elements of design are available with a click of a mouse but two-three decades
ago a resource of these was available for designers to choose from only in
black or white. Could be transferred from self-adhesive film laminate sheets.
It made manual graphic designers’ work easy.
Architectural, and
Symbols
People, motor
vehicles, sanitary fittings, furniture, Trees, and foliage, were available in
black and grey.
Letratone insta had
percentage dot tints, percentage tints, oblique and circular lines, grids, and
mezzotints letratone sheets consisted of tones and patterns printed in black on
a self-adhesive film laminate. Instantex patterns could be rubbed directly onto
the artwork with a burnisher.
Letraline self- adhesive tapes
in a wide variety of colours, patterns, and widths for creating rules, charts,
and diagrams.
These Flex-a-tapes
were either opaque or transparent. Printed border tapes, flexible pattern
tapes, border tapes, corner tapes, and Print production tapes. These tapes were
useful when artworks or litho film for print production. The blackout tapes
were used to prepare negatives for plate making.
Pantone colors The
Pantone matching System is a color communication system that started base in
the 1980’s Colours could now be numerically identified to enable concise color
selection. Specification and control through all stages of a project.
Letrachrome is comprised of two methods of producing superb color images
simulated Pantone colours from Black and white artwork. Letrachrome direct
image prints could be made on plastic paper or film, whereas rubdown transfer
sheets could be made using Letrachrome Transfers.
Letratrim Personal
Letratech Pens
Used for initial
concept stage of a design job rough or detailed visuals quickly and
effectively.
Accurate colour
selection could be agreed upon with the client and if necessary, changes or
alternative treatments offered. Different nib widths could be used to colour
can be overlain without the risk of bleeding or intermixing. Ergonomically
designed markers and pens for easy handling, the smooth, easily regulated ink
flow ensured excellent quality on paper and boards.
Letraset
Airmarkers were handy graphic tool that dramatically extended the creative
potential of a conventional marker. To operate a conventional marker was
inserted to the letrarjet hose to a can of compressed air or compressor, just
by pressing the trigger ink is blown from the marker onto the artwork. Toning,
graduating, silhouetting and all types of airbrush effects could be done in a
jiffy. Creative lettering effects could be achieved with the use of masks in
conjunction with the Letrajet Air Marker. Marker illustration could be given
additional 3-D effects with the Airmarker.
Letraset Color
Overlay
Applying colour with
film overlay would be an ideal method to use for producing mockups of visuals
where colour is required on a piece of line artwork. The screen tint sheets
allowed us to visualize jobs where maximum use of a second colour by using
mechanical tones.
Letramask an
essential in a studio and graphic designer table Thre high-quality PVC film
ensured a clean cut while the excellent adhesive quality enables successive
repositioning without edge bleed. On a light box, the masking sheet allowed
tracings and masks to be cut.
Wax coated
The wax coater is an
essential part of any studio environment. A safe and efficient solution for
large paste-up jobs, with foot pedal control and variable waxing controls, the
wax coater is designed to provide a constant source of adhesion.
Adhesive Tapes and
Sheets, Letraset Pads, Letter transfers, borders helped designers create
innovative path breaking layouts. The layouts created in this era are
inspirational for designers today. It is no surprise that the era is called
glorious 1990’s which have made a huge comeback today.
Letratrim: Rotary
cutters were invaluable in a design studio or general office environment. The
Letratrim cutters had self-sharpening tungsten steel blades safe and easy to
use. Trimmers were supported on twin bars between high-quality metal castings
the cutter was consistent and accurate.
While design limitations
are good to the extent that they save valuable time, excessive design
restraints bound the creativity of graphic designers. It undermines the ability
of graphic designers to fully utilize their creative talent and try out
innovative ideas and styles. The present generation of graphic designers may
experiment with fonts. Trying by playing with fonts with an assumption they are
removed from a surface of printed paper or screen. This would lead to new
innovative typographical styles.
