The purpose of this final exercise was to showcase the transition of typography over the ages. The first paragraph was designed to show traditional, modern typographic sensibilities. Most modern design is very minimal and focuses on simplicity and ease of understanding. The skinniness of the presentation of the text, the Hoefler font, and the use of another color draw the reader’s attention and place emphasis, but otherwise the piece is extremely normal and simplistic. The second paragraph is designed to show the origins of typographic design – that is, the Gutenberg Bible. I used a font called 1456 Gutenberg to replicate the original Gutenberg font, and a parchment texture (leather parchment) to give the piece a sense of age. The third paragraph moves into the eighteenth century, with Baskerville font and a page design that was supposed to mimic the papers of the 1800s. While I am not sure this piece was as successful as the rest, I hope it at least conveys the idea I was discussing in the paragraph. The fourth paragraph is based off of the 1970s game Space Invaders. Since the paragraph discusses the 1960s to the 1980s, I chose Space Invaders as a happy medium of time between the two. The paragraphs are the balustrades behind which the player’s ship can hide from the shots of the enemy. The font is Silkscreen from dafont, to represent the bitmap font movement which was so active from the 1960s to the 1980s. Finally, the last paragraph is based off of the Cranbrook Design: The New Discourse book, a page of which is showcased in Ellen Lupton’s book, “Thinking with Type.” While I modified the design to suit my own ends, it still bears a strong resemblance to the original, and I still think conveys the essence of the 1990’s rebellious designs. Moreover, since the final paragraph is discussing the constant struggle in design between handwriting and computer fonts, I thought the breaking apart of the paragraph suited the discourse visually. Moreover, the free-floating words in between the paragraphs discuss the conflict between the two movements. All in all, I hope these designs convey a sense of the general arc of typographic history, from the early 1450s to today.