Design

In traditional typography, a font is a particular size, weight and style of a typeface. Each font was a matched set of metal type, one piece (called a “sort”) for each glyph, and a typeface comprised a range of fonts that shared an overall design.

In modern usage, with the advent of digital typography, font is frequently synonymous with typeface. In particular, the use of “vector” or “outline” fonts means that different sizes of a typeface can be dynamically generated from one design.

Font Characteristics

In addition to the character height, when using the mechanical sense of the term, there are several characteristics which may distinguish fonts, though they would also depend on the script(s) that the typeface supports. In European alphabetic scripts, i.e. Latin, Cyrillic and Greek, the main such properties are the stroke width, called weight, the style or angle and the character width.

Different fonts of the same typeface may be used in the same work for various degrees of readability and emphasis.John Smith / Art Director

The regular or standard font is sometimes labeled roman, both to distinguish it from bold or thin and from italic or oblique. The keyword for the default, regular case is often omitted for variants and never repeated, otherwise it would be Bulmer regular italic, Bulmer bold regular and even Bulmer regular regular. Roman can also refer to the language coverage of a font, acting as a shorthand for “Western European.”

Photo by Heydays

Rams began studies in architecture and interior decoration at Wiesbaden School of Art in 1947. Soon after in 1948, he took a break from studying to gain practical experience and conclude his carpentry apprenticeship. He resumed studies at Wiesbaden School of Art in 1948 and graduated with honours in 1953 after which he began working for Frankfurt based architect Otto Apel. In 1955, he was recruited to Braun as an architect and an interior designer. In addition, in 1961, he became the Chief Design Officer at Braun until 1995.

Rams introduced the idea of sustainable development and of obsolescence being a crime in design in the 1970s. Accordingly he asked himself the question: is my design good design? The answer formed his now celebrated ten principles.

Good design:

• Is innovative – The possibilities for progression are not, by any means, exhausted. Technological development is always offering new opportunities for original designs. But imaginative design always develops in tandem with improving technology, and can never be an end in itself.
• Makes a product useful – A product is bought to be used. It has to satisfy not only functional, but also psychological and aesthetic criteria. Good design emphasizes the usefulness of a product whilst disregarding anything that could detract from it.
• Is aesthetic – The aesthetic quality of a product is integral to its usefulness because products are used every day and have an effect on people and their well-being. Only well-executed objects can be beautiful.
• Makes a product understandable – It clarifies the product’s structure. Better still, it can make the product clearly express its function by making use of the user’s intuition. At best, it is self-explanatory.
• Is unobtrusive – Products fulfilling a purpose are like tools. They are neither decorative objects nor works of art. Their design should therefore be both neutral and restrained, to leave room for the user’s self-expression.
• Is honest – It does not make a product appear more innovative, powerful or valuable than it really is. It does not attempt to manipulate the consumer with promises that cannot be kept.
• Is long-lasting – It avoids being fashionable and therefore never appears antiquated. Unlike fashionable design, it lasts many years – even in today’s throwaway society.
• Is thorough down to the last detail – Nothing must be arbitrary or left to chance. Care and accuracy in the design process show respect towards the consumer.
• Is environmentally friendly – Design makes an important contribution to the preservation of the environment. It conserves resources and minimizes physical and visual pollution throughout the lifecycle of the product.
• Is as little design as possible – Less, but better – because it concentrates on the essential aspects, and the products are not burdened with non-essentials. Back to purity, back to simplicity.

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Donec ac purus nec diam laoreet sollicitudin. Fusce ullamcorper imperdiet turpis, non accumsan enim egestas in.