CalArts: Intro. to Typography-W2: 2.7 Scala Sans-Typographic Remix

In the 1980s and 90s, techniques for setting and reproducing type underwent dramatic change.

With personal computers, graphic designers no longer had to spec type for typesetting by a third party typesetter.

Now they could own, create, distribute and manipulate type directly on the screens of their computers.

These technical advances coincided with changing attitudes.

Many designers were rejecting what they saw as the oppressive เป็นการกดขี่,ซึ่งทำให้ลำบากใจ sameness of modernist design, 
and were looking with new interest at historical and vernacular typography.

And what resulted from the combination of new technical possibilities, and new thinking was an explosion of typographic forms.

This is part of the typeface catalog of Emigre Fonts, an early pioneer in digital type.

The computer also changed the way type was distributed, allowing for a new crop of small independent type foundries to begin creating and distributing type.

Today, there are more foundries and typefaces than ever.

New typefaces today tend to draw from many different sources of historical and contemporary inspiration, 
while also trying to respond to the particular requirements of contemporary media.

In this final case study, we’re going to look at one successful contemporary typeface, Scala Sans, designed in 1992 by the Dutch type designer, Martin Majoor.

Scala Sans falls into a category of type we haven’t looked at yet.

It’s a sans-serif, but it has a slightly tilted เอียง axis like an old-style serif typeface.

And the shapes and proportions of the letters are also reminiscent ซึ่งเตือนให้นึกถึง of an old-style typeface.

The bowl of the a, and the eye of the e are really small, for instance, and the g has two loops.

This style of typeface, 
sans-serif, but with many of the qualities of an old style serif, is called a humanist sans-serif.

One of the first and best-known humanist sans-serif typefaces was Gill Sans
designed in the 1920s by the British designer Eric Gill.

Gill was associated with the arts and crafts movement at the start of the 20th century, 
and his aim was to reconcile the classic features of old style serif type with the clean aesthetics of sans serifs.

So Scala Sans references an old style sans serif that in turn references older serifs.

It also adds the contemporary twist of actually having an old style serif counterpart 1. สิ่งที่คล้ายกันมาก 
2. ฝ่ายตรงข้าม, ของที่เป็นคู่ 3. ฉบับสำเนา, 
the typeface Scala, designed by Majoor two years earlier in 1990.

Scala and Scala Sans have quite different strokes and stylistic flourishes
But the two typefaces share a common structure, or skeleton โครงกระดูก, โครงสร้าง.

Typefaces of different styles that are designed to go together are called “superfamilies”.

and have become increasingly common as type designers seek to meet the needs of contemporary typography.

So like many contemporary typefaces, Scala Sans has many influences both historical and contemporary.

And for this reason, its connotations are layered and nuanced.

It has the warmth of a humanist typeface 
but the mechanical look of a rationalist sans serif.

Its proportions are classical 
but its stylistic features are contemporary.

In this mixture of references and associations is really characteristic of contemporary type design.