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Albert-Jan Pool | |
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| Born | 1960 (age 62–63) Amsterdam, Netherlands |
| Alma mater | Royal Academy of Art, The Hague |
| Employer | Muthesius Academy of Art |
| Known for | type design |
Albert-Jan Pool (born 1960) [1] is a Dutch type designer and educator.
|
Albert-Jan Pool | |
|---|---|
| | |
| Born | 1960 (age 62–63) Amsterdam, Netherlands |
| Alma mater | Royal Academy of Art, The Hague |
| Employer | Muthesius Academy of Art |
| Known for | type design |
Albert-Jan Pool (born 1960) [1] is a Dutch type designer and educator.
Albert-Jan Pool was born in 1960 in Amsterdam, Netherlands. [1] He studied at the Royal Academy of Arts in The Hague. [1] [ when? ]
After his study, he moved to Germany. From 1987 to 1991, he was Type Director at Scangraphic in Wedel, Germany.[ citation needed ] From 1991 to 1994, he was Manager of Type Design and Production at URW Type Foundry.[ citation needed ] During this time he completed his type families URW Imperial, URW Linear and URW Mauritius.[ citation needed ]
By January 1995, he started his own studio Dutch Design. FF DIN and FF OCR-F were among his first typeface design projects. He also created the Jet Set Sans, C&A InfoType, DTL HEIN GAS and HEM Headline corporate typefaces. In 2010 he extended his typeface family FF DIN with FF DIN Round and wrote ‘Digital Block Letters’ a small brochure on the history of round sans serif typefaces and the development of FF DIN Round, which was published by FontShop International in 2010.
In 1999, Pool co-founded the design agency FarbTon Konzept + Design. During his time with FarbTon he created the Regenbogen Bold typeface as well as DTL HeinGas Headline. He left FarbTon at the end of 2005.
By January 2006 he started publishing his findings on the history of the German standard typefaces as defined in DIN 1451. Since 2007 he is working on his doctoral thesis on the history of constructed sans serif typefaces in Germany, which is tutorized by prof. Gerard Unger of Leiden University.
He has been teaching type design at the Muthesius Academy of Art starting in 1995, [1] as well as typography at the HAMM Hanseatische Akademie für Marketing und Medien (Hanseatic Academy for Marketing and Media) from 1996 to 1999.[ citation needed ]
In 2011, the New York Museum of Modern Art (MoMa) decided to extend its collection of applied arts by digital typefaces. Typeface FF DIN was amongst the first set of 23 typefaces which were collected by MoMa. [2]
Together with type-consultant Stefan Rögener and copywriter Ursula Packhäuser, he wrote and designed a book on the effects of typefaces on brand image entitled ‘Branding with Type’, which has been published by Adobe Press in 1995.
He has written a series of articles about the origins of the DIN typeface, published in the e-magazine 'Encore', issues 13-15, 17-18.
Palatino is the name of an old-style serif typeface designed by Hermann Zapf, initially released in 1949 by the Stempel foundry and later by other companies, most notably the Mergenthaler Linotype Company.
In typography and lettering, a sans-serif, sans serif, gothic, or simply sans letterform is one that does not have extending features called "serifs" at the end of strokes. Sans-serif typefaces tend to have less stroke width variation than serif typefaces. They are often used to convey simplicity and modernity or minimalism. For the purposes of type classification, sans-serif designs are usually divided into these major groups: § Grotesque and § Neo-grotesque, § Geometric, § Humanist and § Other or mixed.
Helvetica, also known by its original name Neue Haas Grotesk, is a widely used sans-serif typeface developed in 1957 by Swiss typeface designer Max Miedinger and Eduard Hoffmann.
Futura is a geometric sans-serif typeface designed by Paul Renner and released in 1927. It was designed as a contribution on the New Frankfurt-project. It is based on geometric shapes, especially the circle, similar in spirit to the Bauhaus design style of the period. It was developed as a typeface by the Bauer Type Foundry, in competition with Ludwig & Mayer's seminal Erbar typeface of 1926.
Lettering is an umbrella term that covers the art of drawing letters, instead of simply writing them. Lettering is considered an art form, where each letter in a phrase or quote acts as an illustration. Each letter is created with attention to detail and has a unique role within a composition. Lettering is created as an image, with letters that are meant to be used in a unique configuration. Lettering words do not always translate into alphabets that can later be used in a typeface, since they are created with a specific word in mind.
In typography, a slab serif typeface is a type of serif typeface characterized by thick, block-like serifs. Serif terminals may be either blunt and angular (Rockwell), or rounded (Courier). Slab serifs were introduced in the early nineteenth century.
Akzidenz-Grotesk is a sans-serif typeface family originally released by the Berthold Type Foundry of Berlin. "Akzidenz" indicates its intended use as a typeface for commercial print runs such as publicity, tickets and forms, as opposed to fine printing, and "grotesque" was a standard name for sans-serif typefaces at the time.
Bernhard Gothic is a family of geometric sans serif typeface designed by Lucian Bernhard in 1929 for the American Type Founders (ATF). Five variations by Bernhard were introduced over two years:
Rotis is a typeface developed in 1988 by Otl Aicher, a German graphic designer and typographer. In Rotis, Aicher explores an attempt at maximum legibility through a highly unified yet varied typeface family that ranges from full serif, glyphic, and sans-serif. The four basic Rotis variants are:
Transport is a sans serif typeface first designed for road signs in the United Kingdom. It was created between 1957 and 1963 by Jock Kinneir and Margaret Calvert as part of their work as designers for the Department of Transport's Anderson and Worboys committees.
DIN 1451 is a sans-serif typeface that is widely used for traffic, administrative and technical applications.
FF Meta is a humanist sans-serif typeface family designed by Erik Spiekermann and released in 1991 through his FontFont library.
FF Scala is an old-style serif typeface designed by Dutch typeface designer Martin Majoor in 1991 for the Muziekcentrum Vredenburg in Utrecht, the Netherlands. The FF Scala font family was named for the Teatro alla Scala (1776–78) in Milan, Italy. Like many contemporary Dutch serif faces, FF Scala is not an academic revival of a single historic typeface but shows influences of several historic models. Similarities can be seen with William Addison Dwiggins' 1935 design for the typeface Electra in its clarity of form, and rhythmic, highly calligraphic italics. Eric Gill's 1931 typeface Joanna, with its old style armature but nearly square serifs, is also similar in its nearly mono-weighted stroke width.
FF Scala Sans is a humanist sans-serif typeface designed by Dutch designer Martin Majoor in 1993 for the Vredenburg Music Center in Utrecht, the Netherlands. It was designed as a companion to Majoor's earlier serif old style typeface FF Scala, designed in 1990.
FF DIN is a sans-serif typeface in the industrial or "grotesque" style. It was designed in 1995 by Albert-Jan Pool, based on DIN-Mittelschrift and DIN-Engschrift, as defined in the German standard DIN 1451. DIN is an acronym for Deutsches Institut für Normung. It was published by FontShop in its FontFont library of typefaces.
The Bauhaus typeface design is based on Herbert Bayer's 1925 experimental Universal typeface and the Bauhaus aesthetic overall.
Martin Majoor is a Dutch type designer and graphic designer. As of 2006, he had worked since 1997 in both Arnhem, Netherlands, and Warsaw, Poland.
Evert Bloemsma was a Dutch photographer, graphic designer, type designer, and art school educator.
In typography, Erbar or Erbar-Grotesk is a sans-serif typeface in the geometric style, one of the first designs of this kind released as type. Designer Jakob Erbar's aim was to design a printing type which would be free of all individual characteristics, possess thoroughly legible letter forms, and be a purely typographic creation. His conclusion was that this could only work if the type form was developed from a fundamental element, the circle. Erbar-Grotesk was developed in stages; Erbar wrote that he had originally sketched out the design in 1914 but had been prevented from working on it due to the war. The original version of Erbar was released in 1926, following Erbar's "Phosphor" titling capitals of 1922 which are very similar in design.
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