Type 1 Fall 2017

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Week 11 HW

SCHEDULE

November 17 — Final Project Introduction
November 21 — Final Project First Draft / Revision
December 01 — Final Project Second Draft / Revision / Trip to the Herb Lubalin Study Center
December 08 — Final Project Third Draft / Revision / Guest Critic Visit
December 15 — Final Exam / Everything is due (more on that coming soon).


FINAL PROJECT
To create a booklet and 3 posters (as part of a poster series) for The Bernard and Anne Spitzer School of Architecture at CCNY. The theme for the series will be decided by you based on your research. It could be inspired by an interview, essay, or written publication about the architect and his/her work.

This fictional lectures series will take place as part of a 3-day lecture series in the Spring of 2017. The exact dates are up to you.
https://ssa.ccny.cuny.edu/

 

DELIVERABLES
3 posters 10 x 16 in
1 20-pg Booklet any dimension (feel free to experiment with format)


REQUIREMENTS
The posters must include:

  • name of architect
  • date
  • location
  • lecture series title
  • credits to the host, and sponsors of the lecture series.

The booklet must include the following:

Pg 1 — Cover
Pg 2-3 — Title page - Table of Contents
Pg 4-5 — Architect's Biography
Pg 6-9 — Interview, essay, or written publication about the architect.
Pg 10-13 — Selected works by the architect.
Pg 14-17 — Lecture dates
Pg 18 — Credits - Bibliography - colophon
Pg 20 — Back Cover


RESTRICTIONS


DEADLINES

November 21 — First Draft
First Draft of the 3 posters and booklet.
We'll discuss the balance of form and function in your design. In order to get the best feedback you must have all your content (text and images) ready to go.

December 01 — Second Draft / Revision
Second Draft of the 3 posters and booklet.
We'll discuss the underlying structure (grid and style) that will make the posters and brochure work as a cohesive design system. In order to get the best feedback you must have all your work as close to the final stage as possible. We'll meet at the Lubalin Center on that day. I'll collect your work and email you my feedback.

December 08 — Final Deliverables for critique
Bring your final draft of the posters and the booklet for critique by a visiting guest critic.
We will begin promptly at 2:30pm so be on time and ready to present. Each student will get roughly 5-8 minutes.

December 15 — Final Exam (Bring Everything)
More details on this later but for now, please bring the revised versions of the following:

  • Revised 16-20 Pg MLK booklet (combine you best ideas from the three booklets into one cohesive piece).
  • Type Specimen with Specimen Sheets (Revised Type Specimen)
  • Final Project

WEEKLY CRITIQUES/SUBMISSIONS
We'll do critiques in groups. Make sure to show up on time, sign-up, and be ready to present.
At the beginning of each class, please pin up your posters in sequential order and have your booklet printed and assembled.
Export and submit PDF files of your work. I won't accept InDesign files. If you're having technical difficulties first google it, then ask a classmate, a lab assistant, and last but not least, ask me.
First Draft is V1.00, Second Draft is V2.00, Critique is V3.00, and Final is V4.00. Please add a .01 for each revision that you send me throughout the week if you want extra feedback.

  • YourName_Architect_Booklet_V1.00.pdf
  • YourName_Architect_Poster01_V1.00.pdf
  • YourName_Architect_Poster02_V1.00.pdf
  • YourName_Architect_Poster03_V1.00.pdf


IN-CLASS

Find an architect for your project. Write his/her name on the board as well as a comment on the blog to avoid duplicates.

Answer the following questions:

Name *
Name

QUESTIONS
When you talk about your architect during critique be ready to introduce their work. Please write a concise paragraph or two that answers these 4 questions and post them as comments on this blog. Be ready to introduce your work by answering those questions during critique.

  1. Who is your architect?
  2. Where are they from and where do they practice?
  3. What attracted you to their work and practice?
  4. What is the theme of the lecture series (your project)?
  5. How did you convey that theme through your work?

Week 10 HW

GROUP CRITIQUES

In the same way that we did last week, we'll have group critiques from 2:30-4:30pm. Please sign up for a group at the beginning of the class. I'll be around from 2:00-2:30pm to answer any questions you may have about the homework, software, etc.

Group 1 ☛ 2:30–3:00pm

Group 2 ☛ 3:00–3:30pm

Group 3 ☛ 3:30–4:00pm

Group 4 ☛ 4:00–4:30pm

 

CHECKLIST

  • Specimen Cover
  • Typeface History (Research)
  • Type Designer(s) Biography (Research)
  • Type Designer(s) Typographic Portrait
  • Character Set page or spread
  • Typeface anatomy spread showing key characters of the typeface and highlighting important details. (Baseline, kind of serif, contrast, etc.)
  • Showings of all the fonts in the typeface using the word Hamburgefontsiv or Handgloves or a word that shows the key characters of the typeface,
  • Short paragraph samples showing each font in the typeface
  • A sample page or a spread showing how all the fonts work together
  • Large-size showings of each font
  • A mix of large and small size showings in playful compositions
  • Fonts in Use
  • Mockups of designed objects / brands
  • 3 specimen sheets (bookmarks, posters, wrapping paper, postcards, etc.)
     

CLASS TRIP

On December 1st we will visit the Herb Lubalin Study Center of Design and Typography at Cooper Union. On that day we will meet at 41 Cooper Square. This is one of the most important sessions in the class. Alexander Tochilovsky (Sasha), the curator of the Lubalin Center, has generously agreed to open the archive and give us a special talk about design history through objects in the archive and how it can help you become a better designer. Please show up on early.

http://lubalincenter.cooper.edu/
https://www.instagram.com/lubalincenter/

Date and Time
Friday, Dec 1st, 2017
2:00 PM – 4:50 PM EST

*If some of you have a class that ends right before my class. Please head to the Lubalin Center as soon as you can, it will be worth your time. Everyone else, please show up on time! This is a once in a lifetime opportunity.

Location
Herb Lubalin Study Center
41 Cooper Square Room LL119
New York, NY 10003

 

DUE NEXT WEEK

Final 16-page version of your type specimen and three specimen sheets.

 

Week 9 HW

DO

Condense your 3 type specimens into one 16-page type specimen and three specimen sheets. The 16-page version should show the typeface's functional and graphic qualities as well as the experimental possibilities of it.

The specimen sheets can be any size as long as it fits (folded or unfolded) inside your type specimen. Think about the experience of the person going through your type specimen and choose the placement according to that.
 

GROUP CRITIQUES

In the same way that we did last week, we'll have group critiques from 2:30-4:30pm. Please sign up for a group at the beginning of the class. I'll be around from 2:00-2:30pm to answer any questions you may have about the homework, software, etc.

Group 1 ☛ 2:30–3:00pm

Group 2 ☛ 3:00–3:30pm

Group 3 ☛ 3:30–4:00pm

Group 4 ☛ 4:00–4:30pm

 

CHECK OUT

These mini-sites are online interactive type specimens for inspiration.

http://www.gt-walsheim.com/

http://cortadoscript.com/

http://blesktype.com/

http://www.fontbureau.com/LeJet/

http://www.ffmark.com/

http://www.monotype.com/fonts/masqualero/

And many more!!!

http://linkli.st/ofisia/8kpwe

 

WATCH

Show, Don't Tell with Thierry Blancpain

 

DUE NEXT WEEK

One 16-page version of your type specimen and three specimen sheets.

 

Week 8 HW

TYPE SPECIMEN PROJECT

In this project you will create a type specimen that shows off the formal and graphic qualities of a typeface of your choice. After using only Helvetica and Minion for most of the semester, you probably know (or think you know) the limitations and best uses of both typefaces. In reality, we were only scratching the surface. The goal of this project is for you to get acquainted with a different typeface by learning about it's history and using it extensively.

Instructions
Design and produce a 16-page type specimen with additional specimen sheets. 

A type specimen is a booklet that demonstrates the range of a typeface, applied to headlines and text in a variety of sizes. Each variation of the typeface should be labelled on the page. Type specimens have existed for centuries to help designers pick a font for a project. Type specimens today can be wildly flamboyant or classical in their approach. See the Resources section below.

Choose a typeface for your project that has a substantial number of variations, such as Univers, Helvetica, Caslon, Baskerville, Garamond, Futura, or Bodoni for example. Look at a variety of typefaces before you choose one, and be sure that you have access to a good “cut” of the face (a full type family). I must approve of your choice.

Research
Gather text for your project by researching about your typeface either online or at the library. Make sure to check out the Resources section on this blog entry.

As a starting point, you must fill out the form below before the end of class and use that information on your type specimen. Feel free to revise and expand that information on your type specimen. I expect you to know this information whenever we discuss your specimen during critiques.

Name *
Name
Write a brief historical/factual description of the typeface. Please don't forget to cite your sources.

Content
All the information from your in-class research is required. You are welcomed to revise and expand your research during the week. 

For all other content, you're free to use any piece of literature that is under a Creative Commons license. Make sure to check out Project Gutenberg and other links on the Resources section of this blog entry.

Specifications

  • Size: 5 x 7 inches (10 x 7 inches spread) or 5 x 5 inches (10 x 5 inches spread). You may choose either one of those two sizes for all versions of your type specimen.
  • You must use Master Pages to set up your grids (columns, rows, and baseline grid) as well as page numbers and any other relevant information.
  • You must offset your text boxes to leading and align your text to the baseline grid. See Week 7 HW settings.
  • You must have a cover page, colophon, and a table of contents in your total page count.
  • You must use text and paragraph styles.
  • You are only allowed to use black and white—gradients, other colors, transparency, or gray values are not allowed.
  • The type family must have more than 4 styles and must include obliques or italics.
  • Binding: Staple Saddle Stitch (this method requires back-to-back printing).

    How to bind a book with staples (saddle stitch binding)
    https://www.youtube.com/watch?v=gFbk3Ypb5CY

    DIY Staple Saddle Stitch Bookbinding Tutorial | Sea Lemon
    https://www.youtube.com/watch?v=BysUiyjB0jY

Deadlines
Week 8 (in-class): First draft of the type specimen. Use content that you submitted on the Research form and the word "Hamburgefontsiv" set on your typeface in every weight and style in which it is available.

Week 9: three 8-page versions of your type specimen (formal, graphic, and experimental).

Week 10: one 16-page version of your type specimen and three specimen sheets. 

Week 11: Revised and final version of your 16-page type specimen with three specimen sheets.

This assignment was adapted from Thinking with Type by Ellen Lupton
 

RESOURCES

KAWAK by Javier Viramontes

http://latinotype.com/131

http://www.latinotype.com/blog/2016/10/05/kawak-a-typeface-inspired-by-mayan-glyphs/

http://www.latinotype.com/blog/2016/10/18/behind-the-typefaces-javier-viramontes/

ROBINSON by Greg Gazdowicz

https://commercialtype.com/catalog/robinson

https://commercialtype.com/news/new_release_robinson

https://commercialtype.com/about/greg_gazdowicz

http://luc.devroye.org/fonts-75197.html

For Reference

https://www.fonts.com/

https://www.myfonts.com/

https://fontsinuse.com/

http://typedia.com/explore/typeface/helvetica/

http://www.monotype.com/blog/font-stories/introducing-wolpe-fanfare-from-the-wolpe-collection-by-toshi-omagari/

https://commercialtype.com/

https://www.typotheque.com/

https://www.productiontype.com/

https://typography.guru/forums/topic/44-type-specimens-online/

http://www.thinkingwithtype.com/misc/type_spec_project.htm

http://www.thinkingwithtype.com/misc/Type_Spec_Demo.pdf

http://www.thecounterpress.co.uk/journal/monotype-specimens

 

DUE NEXT WEEK

Bring 3 printed and assembled Type Specimens — 8 pages each.
Export and email me PDFs of your specimens with the following naming convention:

  1. YourName_TypefaceName_TypeSpecimen_Function.pdf
  2. YourName_TypefaceName_TypeSpecimen_Form.pdf
  3. YourName_TypefaceName_TypeSpecimen_Experimental.pdf

Version 1 — Function
This version focuses on function over form. Make a type specimen that shows the typeface's formal qualities. Establishing a concise grid, a clear hierarchy, a balanced layout, a clarity of intention will make this design successful. In order to get you in the right mindset, think of this: you're trying to sell this typeface to a person who is looking for performance. This person is the Creative Director of a small publishing company. This person has a refined visual taste and design experience, so you're trying to show her that this typeface will work for all of their typesetting needs—from large headlines to small paragraphs of text.

Checklist:

  • Specimen Cover
  • Typeface History (Research)
  • Type Designer(s) Biography Extended (Research)
  • Showings of all the fonts in the typeface using the word Hamburgefontsiv or a word that shows the key characters of the typeface
  • Short paragraph samples showing each font in the typeface
  • A sample page or a spread showing how all the fonts work together

Version 2 — Form
This version focuses on form over function. Make a type specimen that shows the typeface's more graphic qualities. All of the tip for success from version 1 apply to this version as well. In order to get you in the right mindset, think of this: you're trying to sell this typeface to a person who is looking for something unique that also performs. This person is the Senior Designer of a small publishing company. This person will be working directly with the typeface everyday. He is looking for something that is not only a workhorse but can also shine on a cover. Showing that the typeface is versatile but also has charm—loud and quiet moments—will make this type specimen successful.

Checklist:

  • Specimen Cover
  • Type Designer(s) Biography Brief (Research)
  • Type Designer(s) Typographic Portrait
  • Character Set
  • Typeface anatomy spread showing key characters of the typeface and highlighting important details.
  • Large-size showings of each font
  • Fonts in Use

Version 3 — Experimental
This version focuses on personal expression. Make a type specimen that shows your taste as a designer. All of the tip for success from version 1 and 2 apply to this. In order to get you in the right mindset, think of this: The Creative Director and Senior Designer are almost sold on the typeface. However, they still want to see how far the typeface can be pushed (graphically speaking) before it stops working. Your task is to show them how you personally see this typeface being used.

Checklist:

  • Specimen Cover
  • A mix of large and small size showings in playful compositions
  • Fonts in Use
  • Mockups of designed objects / brands

Answer the following questions:

Name *
Name

Week 7 HW

IN CLASS

Document Setup

  1. Open InDesign & hit Cmd+N to create a new document
  2. Intent = Print
  3. Check Facing Pages
  4. No. of Pages = 8
  5. Page Size = Custom (Portrait)
    Name = Booklet01, Width = 5in, Height = 6.5in 
  6. Check Preview
  7. Column Number = 3, Gutter = 12pt or 1p0
  8. Margin = 24pt or 2p0
  9. Bleed = .125in or 0p9
  10. Hit Ok

Baseline Grid

  1. Hit Cmd+K to access the Preference window and go to the Grids tab.
  2. Color = Light Gray
  3. Start = 0
  4. increment = 6pt
  5. View Threshold = 5%
  6. Hit Ok

Units & Increments

  1. Hit Cmd+K to access the Preference window and go to the Units and Increments tab.
  2. Kerning/Tracking = 2/1000em

Creating Rows

  1. Go to the Layout Menu and select Ruler Guides and change the color to Red
  2. Go to the Layout Menu and select Create Guides. Create 6 rows, 12pt gutter, fit guides to Margin
  3. Hit Ok

Text Frame Options

  1. Hit T and make a text box
  2. Hit Cmd+B and on the Baseline Option tab set the Offset to Leading
  3. Hit Ok

 

READ & TYPESET

https://2x4.org/ideas/26/wysiwyg/

pg 1 — Cover
pg 2 — Quote
pg 3 — Title Page
pg 4 — Essay
pg 5 — Essay
pg 6 — Essay
pg 7 — Essay
pg 8 — Credits/Colophon

WATCH

The Quadrant System by Tony Zhuo

 

The Geometry of a Scene by Tony Zhuo

 

Graphic Means: A film by Briar Levit

 

Typographics 2015: The Picture in The Word with Abbott Miller (Abbott’s talk starts at 3:44).

 

DO

Using the grid we developed in class, turn Martin Luther King Jr.'s Speech into a series of 3 booklets. 

http://www.americanrhetoric.com/speeches/mlkihaveadream.htm

  1. Using Minion Pro: Regular, Bold, and Regular Italic.
  2. Using Helvetica: Regular, Bold, and Regular Italic
  3. Combining Both Minion and Helvetica

Requirements:

  • Cover Page
  • Smallest allowed point size is 6pt.
  • Smallest lines pace size is 12pt—increase or decrease by multiples of 6. For example 15/18, 20/24, etc. See what looks right for you.
  • Text size 9.5/12 (this means 9.5 point size and 12 pt line space)
  • You must use all 8 pages
  • Bring trimmed spreads to next class
  • See image below for reference.

 

ANSWER

Answer the following questions before the beginning of next class:

  1. How did Minion influence your booklet design? Where do you think it works best? Why?
  2. How did Helvetica influence your booklet design? Where do you think it works best? Why?
  3. In what ways did you combine Minion and Helvetica? Why?

 

FOR REFERENCE

https://fontsinuse.com/typefaces/4291/minion

Adobe InDesign: Formatting text paragraph styles
https://helpx.adobe.com/indesign/how-to/indesign-formatting-text-paragraph-styles.html

Adobe InDesign: Formatting text character styles
https://helpx.adobe.com/indesign/how-to/indesign-formatting-text-character-styles.html

 

PRINTING INSTRUCTIONS

  1. Open your document and go File > Print Booklet.
     
  2. On the Print Booklet window — Setup
    Pages: All
    Booklet Type: 2-up Saddle Stitch
    Check Automatically Adjust to fit Marks and Bleeds
    Check Print Blank Printer Spreads
    Click on the Print Settings... button at the bottom of the window.
     
  3. On the Print Window — Setup
    Paper Size: US Letter
    Orientation: Landscape
    Scale: Width 100% Height 100%
    Page Position: Centered
     
  4. On the Print Window — Marks and Bleeds
    Check Crop Marks
    Click on the Printer… button at the bottom of the window.
     
  5. On the Warning Window
    Click OK 
     
  6. On the Print window
    Select printer 124 (recomended by IT).
    Copies: 1
    Check Two-Sided
    Pages per Sheet: 1
    Border: None
    Two-Sided: Short-Edge binding
    Click Print to exit the Print Window
    Click OK to exit the previous Print Window
     
  7. Check the Preview option on the Print Booklet Window.
    If everything looks fine, click Print.

 

Week 6 HW

IN CLASS

Document Setup

  1. Open InDesign & hit Cmd+N to create a new document
  2. Intent = Print
  3. Uncheck Facing Pages
  4. No. of Pages = 1
  5. Page Size = Custom
    Name = Square, Width = 6in, Height = 6in 
  6. Check Preview
  7. Column Number = 3, Gutter = 12pt or 1p0
  8. Margin = 24pt or 2p0
  9. Bleed = .125in or 0p9
  10. Hit Ok

Baseline Grid

  1. Hit Cmd+K to access the Preference window and go to the Grids tab.
  2. Color = Light Gray
  3. Start = 0
  4. increment = 6pt
  5. View Threshold = 5%
  6. Hit Ok

Units & Increments

  1. Hit Cmd+K to access the Preference window and go to the Units and Increments tab.
  2. Kerning/Tracking = 2/1000em

Creating Rows

  1. Go to the Layout Menu and select Ruler Guides and change the color to Red
  2. Go to the Layout Menu and select Create Guides and change the color to Red
  3. Create rulers 3 rows, 12pt gutter, fit guides to Margin
  4. Hit Ok

Text Frame Options

  1. Hit T and make a text box
  2. Hit Cmd+B and on the Baseline Option tab set the Offset to Leading
  3. Hit Ok
     

CHECK OUT

Bembo's Zoo by Roberto de Vicq de Cumptich
http://www.bemboszoo.com/

Flat File Issue N°3 — Gerstner's Capital
https://readymag.com/flatfile/03-capital/intro/

Hidden Gem: Alisal by Anthony Noel from Monotype
http://www.monotype.com/blog/articles/hidden-gems-alisal/

Mapping Graphic Design History in Switzerland by Robert Lzicar and Davide Fornari
http://www.triest-verlag.ch/produkte/buch-26/design-140/mapping-graphic-design-history-in-switzerland-2873

Typographische Monatsblätter (Research Archive) by Louise Paradis
http://www.tm-research-archive.ch/

Typographische Monatsblätter 1980, Issue 4 Cover design by  Christian Mengelt
http://www.tm-research-archive.ch/issue/1980-4/

 

READ

Thinking with Type: Grids Pg 111-153
https://designopendata.files.wordpress.com/2014/05/thinkingwithtype_ellenlupton.pdf

The Vignelli Canon Pg 40-52

Grid Systems in Graphic Design by Josef Muller-Brockmann Pg. 9-13
https://vk.com/doc53805385_235415673

 

WATCH

Massimo Vignelli Makes Books

Massimo Vignelli discusses his approach to book design in a video produced for Mohawk's "What Will You Make Today?" campaign. Video design by Michael Bierut/Pentagram.

Bembo's Zoo

 

Paula Scher by Hillman Curtis

 

DO

Research the book One Hundred Years of Solitude by Gabriel García Márquez and using the square grid we created in class, interpret the title to create 3 compositions:

  1. Convey the idea of “the passing of time.”
  2. Convey the idea of “solitude.”
  3. Convey the idea of “fate”

Rules:

  • You must use all of the following text: One Hundred Years of Solitude by Gabriel García Márquez
  • Only use Helvetica Bold in upper and lowercase.
  • Don’t use numerals.
  • Don’t stretch type.
  • Don’t duplicate text.
  • Don’t use transparency or any effects such as stroke or fill.
  • Keep your text live.
  • Changing the point size, kerning, tracking, leading is allowed.
  • Baseline shifts and rotation are also allowed.
  • You are also allowed to break the text into words and/or into individual letters. Don’t be limited by text-boxes instead, use the margin and baseline grids to your advantage.

Answer the following questions before the beginning of next class:

  1. How did you convey the idea of “the passing of time” in your composition?
  2. How did you convey the idea of “solitude in your composition?
  3. How did you convey the idea of “fate”  in your composition?

Print and trim your compositions by the beginning of next class. Be ready talk about your work by reading your answers from the homework.

Week 5 HW

DOWNLOAD

Typography Part A — Bodoni Portfolio Template

Typography Part A — Caslon Portfolio Template

Revival Postcards Template

 

DO

Complete your portfolio, export a pdf, and sent it to me via email. 

YourName_Typography-PartA_CaslonPortfolio.pdf or YourName_Typography-PartA_BodoniPortfolio.pdf

To see what an ideal (A student) portfolio looks like, check the portfolio sample below:

Typography Part A — Portfolio Sample

 

REVIVAL POSTCARDS
The postcards on the Portfolio sample are my own designs and are only there to give you an idea of how much you can do with only a few letters. I expect you to come up with your own designs.

  1. Character Set Composition: Design a composition showing all the letters that you have digitized.
  2. Typography I Composition: Design a composition using the letter that make up the words Typography I.

  3. Majuscule Composition: Design a composition using only an uppercase letter.

  4. Minuscule Composition: Design a composition using only a lowercase letter.

  5. Typographic Detail 1: Design a composition showing off a detail of an uppercase letter.

  6.  Typographic Detail 2: Design a composition showing off a detail of a lowercase letter.

  7. Book Cover 1: Design a book cover using the letters from your revival typeface.

  8. Book Cover 2: Design a book cover using the letters from your revival typeface.

Instructions:

  1. Download the template in the "Download" section.
  2. Design you postcards on each of the Artboards.
  3. Export files as PNGs and make sure to check the box that says Use Artboards
  4. Place the exported pngs on your portfolio

 


CHECKLIST

  1. Make sure your type is not stretched.
  2. Make sure you answer all the questions.
  3. Make sure your scans are at 300dpi and your work is not accidentally cropped.
  4. Make sure your comments are set in Minion Pro 9/12pt. Your character panel should look like the image below.


 

An Interview with Dan Rhatigan by Monotype

Interviewed at his home in New York City, Dan Rhatigan discusses the importance of typography to today's culture and to him, personally. Learn more about Monotype at monotype.com. Follow Monotype on Twitter @Monotype and on Instagram @bymonotype.

DUE NEXT WEEK

A printed and digital submission (pdf via email) of your completed portfolio.

Week 4 HW

READ

Toolspace by Jan MIddendorp
http://letterror.com/writing/toolspace/

 

WATCH

3 Revival Case Studies:
The first three videos below show the process behind some notable type revivals. The reason for going back to the original source is because as technology changes, things get lost in translation. Studying the original material allows the designer to write a more complete history of how a particular typeface evolved and how it can improve. The teams behind each case study, not only seek to uncover the intentions behind the designs but also to expand on it and make it useful for the needs of contemporary typography.

These two definitions from John Downer's essay Call It What It Is help shed a light on the fact a revival is oftentimes also a homage, and good revivals aim to improve and not merely copy.

Revivals/Recuttings/Reclamations
Closely based on historical models (metal type, hand-cut punches, etc.) for commercial or noncommercial purposes, with the right amount of historic preservation and sensitivity to the virtues of the original being kept in focus-all with a solid grounding in type scholarship behind the effort, too.

Homages/Tributes/Paeans
Loosely based on historical styles and/or specific models, usually with admiration and respect for the obvious merits of the antecedents - but with more artistic freedom to deviate from the originals and to add personal touches; taking liberties normally not taken with straight revivals.
 

Introducing Johnston100 by Monotype
http://www.monotype.com/resources/case-studies/introducing-johnston100-the-language-of-london

 

Neue Kabel: reshaping a lost classic by Monotype
http://www.monotype.com/blog/font-stories/neue-kabel-reshaping-a-lost-classic/

 

Goudy & Syracuse: The Tale of a Typeface Found by Pentagram

 

Tobias Frere-Jones: Break Things Deliberately

 

CHECK OUT

In case you're missing letters to complete the assignment, please check out the online archived material. It's not high-res but it will give you an idea of what the missing letters look like.

Team Caslon
ATF Type Catalog 1912, p. 349.
https://archive.org/details/americanspecimen00amerrich

Team Bodoni
ATF Type Catalog 1934, p. 22.
https://archive.org/details/ATFBookOfAmericanTypes1934

 


REVIVAL FILES

Revival Project Source Files inside the Revival folder on the Shared Drive

Revival Project Template Files inside the Revival folder on the Shared Drive
 

 

DO

Download the either the Bodoni_Words_Template.ai or Caslon_Words_Template.ai.  and complete the missing letters from either Caslon or Bodoni using the source specimen and typeset:

Line 1: Regulated
Line 2: Bodoni
Line 3: Bold

or 

Line 1: Distinctly
Line 2: Caslon
Line 3: Heavy

Save the file as:

  • YourName_RegulatedBodoniBold.pdf
  • YourName_DistinctlyCaslonHeavy.pdf

Download the Bodoni_Words_Template.ai or Caslon_Words_Template.ai.  again and complete the missing letters that make up your full name. Typeset the following:

Line 1: Your First Name & Middle Name (if appiclable)
Line 2: Last Name
Line 3: Typography I

Save the file as:

  • YourName_NameTagBodoniBold.pdf
  • YourName_NameTagCaslonHeavy.pdf

Complete the Revival Worksheet Typography1Fall2017-Revival&Lettering-Template.indd located inside the Template Files in the Shared Drive and save it as:

  • YourName_BodoniBoldRevival&Lettering.pdf
  • YourName_CaslonHeavyRevival&Lettering.pdf

Write a brief paragraph answering these questions and post as a comment on the blog.

  1. By now, you've most likely developed feelings and opinions towards Caslon or Bodoni. What are they?
  2. How does it feel seeing you name set on your own digital letterforms? What would you change (weight, width, contrast, etc) to make it feel more personal? Why?
  3. What's your favorite feature (typographic detail) of Caslon or Bodoni? Why?
  4. What was the most difficult aspect of this revival assignment and how did you make it through?

Continue revising your lettering piece, last opportunity for feedback is on 10/6.
 

BRING NEXT CLASS 10/6

Email me and bring printed copies of:

  1. YourName_RegulatedBodoniBold.pdf or YourName_DistinctlyCaslonHeavy.pdf
  2. YourName_NameTagBodoniBold.pdf or YourName_NameTagCaslonHeavy.pdf
  3. YourName_BodoniBoldRevival&Lettering.pdf or YourName_CaslonHeavyBodoniBoldRevival&Lettering.pdf

Week 3 HW

READ

Call It What It Is by John Downer
http://www.emigre.com/Editorial.php?sect=2&id=1

Drawing for Interpolation by Erik van Blokland
http://new.superpolator.com/drawing-2/

 

WATCH

Matthew Carter: My Life in Typefaces

 

TYPEFACE MECHANICS

Typeface Mechanics: 001 by Tobias Frere-Jones
https://frerejones.com/blog/typeface-mechanics-001

Typeface Mechanics: 002 by Tobias Frere-Jones
https://frerejones.com/blog/typeface-mechanics-002

Type Terms Cheat Sheet
https://www.supremo.tv/typeterms/

Type Cheat Sheet
https://www.typewolf.com/cheatsheet

Font Men by Dress Code

 

DIGITIZING LETTERFORMS

The Bézier Game
http://bezier.method.ac/

Drawing for Interpolation
http://new.superpolator.com/drawing-2/

Hand Lettering: How to Vector Your Letterforms by Scott Biersack
https://design.tutsplus.com/tutorials/hand-lettering-how-to-vector-your-letterforms--cms-23248

Adobe Illustrator Pen Tool Tutorial for Logos and Typography by Matt Borchert

 

Modern Techniques for Digitizing Script Alphabets by James Edmonson

 

TYPE REVIVAL PROJECT

A type revival can mean many things as defined by John Downer's "Call It What It Is" essay for Emigre. For this assignment, our revival will be an homage to Caslon and Bodoni. I'll divide the class into two groups, team Caslon and Team Bodoni

Caslon Team
Alberto
Emma
Jasmine
Jia
Joel M
Xinying
Isabella


Bodoni Team
Jade
Joel C
Min
Natasha
Ren
Yasmin
Zoey

Caslon was designed by William Caslon in 1722. It was considered the first original English typeface and was used extensively throughout the British Empire in the early eighteen century. Benjamin Franklin used it extensively and in fact it was the font used to set both the Declaration of Independence and the U.S. Constitution
https://www.fonts.com/font/linotype/bodoni/story

Bodoni was designed by Giambattisa Bodoni in 1798 and is generally considered a modern serif typeface. One of the earlier publications using Bodoni was Dante’s La Vita Nuova in 1925.
https://www.fonts.com/font/linotype/bodoni/story

The type revival project files are located inside the Revival folder in the shared drive:

The Source Files folder contains high-res scans of both Bodoni and Caslon for reference. The folder contains the following files:

  • Bodoni_Bold_150dpi_BookofAmericanTypes_ATF.jpg
  • Bodoni_Bold_300dpi_BookofAmericanTypes_ATF.jpg
  • Bodoni_Bold_600dpi_BookofAmericanTypes_ATF.jpg
  • Bodoni_Bold_1200dpi_BookofAmericanTypes_ATF.jpg
  • BodoniBold Regulated.jpg
  • Caslon_Heavy_150dpi_ATF1912.jpg
  • Caslon_Heavy_300dpi_ATF1912.jpg
  • Caslon_Heavy_600dpi_ATF1912.jpg
  • Caslon_Heavy_1200dpi_ATF1912.jpg
  • Caslon_Heavy_Distinctly.jpg

The Templates folder contains the illustrator files that you'll need to complete this assignment. I provided both EPS and AI illustrator files since EPS are more backwards compatible with older versions of Illustrator. Please download and use the EPS only if the Illustrator file won't open on your computer. The folder contains the following files:

  • BodoniBold Revival_Template.ai
  • Bodoni_Words_Template.ai
  • CaslonHeavy Revival_Template.ai
  • Caslon_Words_Template.ai
  • BodoniBold Revival_Template.eps
  • Bodoni_Words_Template.eps
  • CaslonHeavy Revival_Template.eps
  • Caslon_Words_Template.eps

 

DO

Download and complete either the BodoniBold Revival_Template.ai or CaslonHeavy Revival_Template.ai revival worksheet using the Prototyping technique shown in class. Make sure to check the Drawing for Interpolation reference sheet as well as this vectorizing tutorial. When you're done, export a pdf and email it to me named as:

  • YourName_BodoniBold.pdf
  • YourName_CaslonHeavy.pdf

Download and complete either the Bodoni_Words_Template.ai or Caslon_Words_Template.ai worksheet.  When you're done, export a pdf and email it to me named as:

  • YourName_BodoniWords.pdf
    For Bodoni, typeset the words delegated, leagued, and eagled
     
  • YourName_CaslonWords.pdf
    For Caslon, typeset the words stylistic, nittily, and instils.

Write a brief paragraph answering these questions and post as a comment on the blog.

  1. What was the easiest and hardest thing about this assignment? Talk about your process/experience of digitizing your lettering piece.
  2. What was the hardest and easiest letter (or part of a letter) to draw? Why?
  3. What do you think are your strengths and weaknesses?

Revise your NYC Lettering piece according to my comments. After that, please scan and upload it to the Lettering folder on Shared Drive with the following name:

  • YourName_NYC_Revision_001.jpg

 

BRING NEXT WEEK

  1. A printout of the completed BodoniBold Revival_Template.ai or CaslonHeavy Revival_Template.ai worksheet.
  2. A printout of the completed Bodoni_Words_Template.ai or Caslon_Words_Template.ai worksheet.
  3. Your revised NYC Lettering piece.

Week 2 HW

Get familiar with the class Shared Drive. For more information see the Alerts page.

PRINT

Lettering Handout

 

READ

Letter
Read the following sections: Superfamilies, Caps and Small Caps, Mixing Typefaces

Thinking with Type by Ellen Lupton

 

WATCH

House Industries: Interview with Ken Barber

Erik van Blokland on Drawing


A quick recording of sketching letterforms from the inside out. Postpone drawing the actual outline until you have an idea where it is. Just drawing any line isn't going to make it the right one. Better to ignore drawing the contour altogether and focus on proportion, contrast, weight, the white shapes as well as the black shape. The pen keeps the same amplitude and direction. Thus it performs similar to a broad nib pen and the contrast follows easily. Modulating the amplitude (shown later on) simulates the expansion of the flexible nib pen. This is by no means intended as an example of great lettering. These particular letters would benefit from a dab of white paint and perhaps an iteration or two on tracing paper. But it shows how to get started. Similar to the sketching techniques shown by David Gates in Lettering for Reproduction.

DO

Submit your Garamond g's from Week 1 HW.  If you didn't finish coloring yours, have it colored in black (pencil or marker, just make it as dark as possible) for next class.

Revise—using the sketching and tracing techniques—and finish your "New York City" lettering pieces.

Write a brief paragraph that answers these 3 questions and post them as one comment before the beginning of next class:

  1. What font(s) did you use as reference for your drawing? why did you choose that one? What characteristics of the font attracted you to it?
  2. What was the most difficult and the easiest part of this exercise?
  3. If you could make a change to your NYC lettering piece, what would that change be?

Scan your New York City lettering piece and save it as 300dpi high quality jpegs inside the Lettering folder on the Shared Drive as:

  • YourName_NYC.jpg

 

BRING NEXT WEEK

  1. Your NYC lettering piece: the original on tracing paper and the printout where I can write notes.
  2. Post your writings on the comments section and be ready to read your paragraph at the beginning of next class.

If you missed the first class, check out the Alerts section.

Lectures

This is a list collecting all the video lecture assignments for this class.

House Industries: Interview with Ken Barber

House Industries has been producing their premier league retro design and their true love…Fonts! Fonts! Fonts! since 1993. House Industries’ lead letterer Ken Barber recently visited us in Berlin to give a workshop at our Gestalten Space, which explored the creative process of hand-lettering and the application of illustrative letterforms in contemporary graphic design. We took this chance to interview him on Gestalten.tv where he talks about the necessity of specialization and the fine lines between lettering, typography, and font design. We've sold out of their House monograph but are obviously huge fans and have a range of House Industries items at Gestalten Space, and available through our online shop, shop.gestalten.com. Watch our complete line-up of video interviews on gestalten.tv.

Erik van Blokland on Drawing

A quick recording of sketching letterforms from the inside out. Postpone drawing the actual outline until you have an idea where it is. Just drawing any line isn't going to make it the right one. Better to ignore drawing the contour altogether and focus on proportion, contrast, weight, the white shapes as well as the black shape. The pen keeps the same amplitude and direction. Thus it performs similar to a broad nib pen and the contrast follows easily. Modulating the amplitude (shown later on) simulates the expansion of the flexible nib pen. This is by no means intended as an example of great lettering. These particular letters would benefit from a dab of white paint and perhaps an iteration or two on tracing paper. But it shows how to get started. Similar to the sketching techniques shown by David Gates in Lettering for Reproduction.

Matthew Carter: My Life in Typefaces

Pick up a book, magazine or screen, and more than likely you'll come across some typography designed by Matthew Carter. In this charming talk, the man behind typefaces such as Verdana, Georgia and Bell Centennial (designed just for phone books - remember them?), takes us on a spin through a career focused on the very last pixel of each letter of a font.

Alerts

 

EDM CLUB MEETINGS Coming Soon (Stay tuned).

 

HOMEWORK ASSIGNMENTS

I expect everyone to complete each homework assignment on time. If you missed one or it's late, you will get a lower grade. But nothing is worse that not having your homework.

 

IF YOU MISSED THE FIRST WEEK

  1. Make sure I have your Garamond g' and wrote a comment on the blog Week1HW page.
  2. Make sure to scan your NameTag and upload it to the Name Tag folder on the Shared Drive.
  3. Make sure to complete the Helvetica a worksheet, scan and upload to the Helveticaa folder on the shared Drive
  4. Make sure to complete the class questionnaire.
     

Shared Drive

The shared Google Drive folder is for the class to upload final files only. Please, follow the link below and familiarize yourself with the folder structure. More links will be added later.

NameTag Folder
Helvetica a Folder
Garamond g Folder
Lettering Folder
Revival Folder

In order to upload or remove files, you must have a gmail account. If you don't currently have a gmail account, please make one even if it's only for this class. Click on the link below to create a gmail account. If you have any questions, don't hesitate to ask.

Create a gmail account

 

Writings

Your writing homework assignment will be part of your Portfolio. Make sure you post your answers as comments on each homework assignment. In order to post a comment, make sure to be logged in to your gmail account first and don't forget to sign your name at the end.

Your comments should look something like this:

Typography is two-dimensional architecture, based on experience and imagination, and guided by rules and readability. And this is the purpose of typography: The arrangement of design elements within a given structure should allow the reader to easily focus on the message, without slowing down the speed of his reading.
—Hermann Zapf

 

Scanning

When you scan you drawings make sure you scan them at 300dpi either as grayscale or color, depending on the assignment. Please make sure to ask people in the labs for help if you need it.

Assignments

Please follow these links to access the homework assignments for each week.
The non-numeric links are for (S) Syllabus, (L) Lectures, (R) Readings, (?) Questionnaire, and (!) Alerts.

Week 1 HW

READ

What is Typography?

https://www.typotheque.com/articles/what_is_typography

Letter

Read the following sections: Anatomy, Size, Scale, Type Classification, and Type Families.

Thinking with Type by Ellen Lupton

DO

Garamond g

  1. Draw a Garamond lowercase g from the printout on a tabloid size 11" × 17" piece of paper. The drawing must be as large as the piece of paper and colored black. Make the letterform as dark as possible. You can achieve this by using, pencils, markers, etc. 

    You must only draw from the small sample provided in class. Tracing is prohibited. Try to get it as close as you can to the original.
     
  2. After that, draw your own idealized version of a Garamond lowercase g. Change all the characteristics that you feel could be different or better than the original design on the printout. 
     
  3. Write a brief paragraph that answers these 3 questions and post it as a comment:

What things did you learn or notice about the Garamond g?

Was it difficult or easy to scale the drawing?  Why do think that is?

What changes did you make on your version of the g (list them out)? Why did you make those changes?

Pin both of your 11x17in drawings side by side (original on the left, revised drawing on the right) and be ready to read your paragraph/answers to the class.

Bring all materials from the syllabus, especially tracing paper, kneaded eraser, and pencils.

Class Questionnaire

Name *
Name
Cell phone *
Cell phone
What is your comfort level with the following software? (1 is low, 6 is best)
List your 3 favorite: