Type 1 Fall 2018

Hello Class! Please make sure to check the following links:

Assignments | Syllabus | Readings | Lectures | Questionnaire | Alerts

Week 11 HW


November 09 — Final Project Introduction
November 16 — Final Project First Draft / Revision
November 30 — Final Project Second Draft / Revision
December 07 — Final Project Third Draft / Revision / Guest Critic Visit
December 21 — Final Exam / Everything is due (more on that coming soon).

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 2019. The exact dates are up to you.


  1. Allen — Tandao Ando

  2. Chris — Haim Dotan

  3. Dani — James Corner

  4. David — Ben Van Berkel

  5. Hannah — Farshid Moussavi

  6. Lee — Gerardo Broissin

  7. Lupe — Peter Pichler

  8. Qing — Caroline Bos

  9. Shara — SANAA, Kazuyo Sejima and Ryue Nishizawa

    Missing Questionnaire

  10. Lipping

  11. Jayy

  12. Teng

  13. FX

  14. Alfonso


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

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



November 16 — 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.

November 30 — 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.

December 07 — 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 21 — 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 Inserts (Revised Type Specimen)

  • Final Project

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


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 *

When you talk about your architect during critique be ready to introduce their work. Please write a concise paragraph or two that answers these 6 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?

  6. What typefaces did you choose and why?

Week 9 HW


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

The specimen sheet inserts 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.


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




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







And many more!!!




Show, Don't Tell with Thierry Blancpain



  • One 16-page version of your type specimen and three specimen sheet inserts. Make you use the checklist at the end of this blog entry.

  • 2 written critiques, one each one of your two Type Crit Buddies


Friday Nov 2 — Before Class

  1. Upload your Type Specimen PDF's to the Type Specimen (Second Draft) Folder on the Shared Google Drive. Name your PDF file using the following naming convention:

    • YourName_TypefaceName_TypeSpecimen-Second Draft

  2. Email a copy of your Type Specimen PDF to you Type Crit Buddies and CC me on that email. If you don’t know what CCing someone means, here’s a useful explanation.

    Please use the following email structure:

    Email Structure
    The subject line of the email thread should be:

    • YourName TypefaceName TypeSpecimen Critique

The body of the email should be the answers to the following questions:

  1. According to your research, what kind of typography was your typeface designed for? Please explain.

  2. According to your research, what problems was your typeface trying to solve (if any) through its design according to the designer?

  3. What features of the typeface do you like or dislike? Why?

  4. What were some of the typeface features that you emphasized on your type specimen?

  5. How was your experience working with the typeface? Was it easy or difficult, please explain why you think you had that experience.

Here's a basic email template to make you look professional and make your life easier. Feel free to change things but make sure your emails are polite and concise.

Hi "Name of the receiver,”

Please find attached my Type specimen.

“Answers to questions 1-5"

Looking forward to your comments.


"Your Name"

Friday Nov 2 — End of class 5pm (Midnight latest but will be considered late)

  • Reply to the email thread and provide feedback to your two Type Crit Buddies. Don’t forget to CC me.

The feedback should address the following questions:

  1. Is the cover clear, legible, and intriguing? Does it have a clear hierarchy? If not, what in specific feels unclear, illegible (perhaps not truly illegible but legibility could be improved), or uninteresting (this can be both objective and subjective)?

  2. Did the pages after the cover have a consistent style and tone? Did the cover set the right amount of expectations for the reader? What were your expectations from the cover and did the following pages met them?

  3. Was the type specimen easy to navigate?

  4. What are some successful pages or spreads? Why? Talk about of pacing, continuity, hierarchy, and composition.

  5. What are some pages or spreads that could be improved and why do you think they need improvement? Talk about of pacing, continuity, hierarchy, and composition.

  6. Are there kerning issues, line-height issues, orphans, widows, hanging punctuation, or typos that the designer might have missed? Please list them out.

  7. Is everything correctly and appropriately labeled?

  8. In general, what was the most interesting and exciting part of specimen and what did you learn about your Type Crit buddy’s typeface.

Please don't forget to CC me on all the critique email exchanges. I'll be away and will not be able to comment but will check to make sure that everyone did their work, was polite, and helpful.

  • You're not responsible to critique work that was not received on time and neither are you responsible for people's missing feedback.

  • You’re responsible of making sure the PDF file is attached to your email and obtaining your Type Crit Buddy’s email.


Make sure you read Mitch Goldstein's How to Crit guide. Here’s the list of buddies. Each one of you is responsible for giving feedback to two of your classmates. Please be kind and helpful!

  • Alfonso — Isaias7@yahoo.com

    • FX

    • Liping

  • Allen — allenguzman2014@gmail.com

    • Chris

    • Shara

  • Teng — Tengliu3962@gmail.com

    • Qing

    • Lee

  • David — davidmanashirov98@gmail.com

    • Dani

    • Jayy

  • Hannah — paekhaewon@gmail.com

    • Lupe

    • David

  • Lupe — parralupe345@gmail.com

    • Teng

    • Allen

  • Jayy — przj12@gmail.com

    • Alfonso

    • FX

  • Dani — owo@hotmail.com.ar

    • Liping

    • Chris

  • Lee — chuliski25@gmail.com

    • Shara

    • Qing

  • Qing — sally1843370521@gmail.com

    • Lee

    • Dani

  • Shara — uminsunny@gmail.com

    • Jayy

    • Lupe

  • Chris — chrido399@gmail.com

    • Hannah

    • David

  • Liping — Lipingwu802@gmail.com

    • Teng

    • Allen

  • FX — dolaslx@gmail.com

    • Alfonso

    • Hannah


  • 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 or line 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.)


Week 8 HW


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 have a more informed idea on the strengths and weaknesses of both typefaces. However, so far we’ve been only scratching the surface. The goal of this project is for you to get acquainted with a different typeface by learning about its history and using it extensively.

Design and produce a 16-page type specimen with additional type specimen sheet inserts. 

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 styles, 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.

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

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.


  • 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)

    DIY Staple Saddle Stitch Bookbinding Tutorial | Sea Lemon


  • Week 8 (in-class): First draft of the type specimen. Use the 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 type specimen sheet inserts. 

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

This assignment was adapted from Thinking with Type by Ellen Lupton


BELY by Roxane Gataud


ROBINSON by Greg Gazdowicz


Our favorite Typefaces of 2017 by Typographica


For Reference























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 a Creative Director, has a refined visual taste and years of design experience. You're trying to show them how this typeface works in different typographic scenarios. Whether the typeface works best in large headlines or small lines of text. It’s you job to figure out, through testing, how to make your typeface looks its best.


  • 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. 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. This person is a Senior Designer and will be working directly with the typeface everyday. They’re looking for something that is not only a workhorse but can also possibly shine on a book cover, if necessary but not a requirement. Showing that the typeface is versatile but also has charm—loud and quiet moments—will make this type specimen successful.


  • 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.


  • Specimen Cover

  • A mix of large and small size showings in playful compositions

  • Fonts in Use

  • Mockups of designed objects

Answer the following questions:

Name *

Type Specimens List

Alfonso 👉 Alegreya Sans

Allen 👉 Roboto

Chris 👉 Escrow

David 👉 Rubik

FX 👉 Neue Haas Unica

Hannah 👉 Signo

Jayy 👉 Input Serif

Liping 👉 Josefin Sans

Lupe 👉 Spectral

Qingqing 👉 Noto Serif

Rosalie 👉 Nunito

Shara 👉 Mrs Eaves XL

Teng 👉 PT sans

Week 7 HW


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




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


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).



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


  1. Using Minion Pro: Regular, Bold, and Regular Italic.

  2. Using Helvetica: Regular, Bold, and Regular Italic

  3. Combining Both Minion and Helvetica


  • Cover Page

  • Smallest allowed point size is 6pt.

  • Smallest lines space 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 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?




Adobe InDesign: Formatting text paragraph styles

Adobe InDesign: Formatting text character styles



  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


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


Bembo's Zoo by Roberto de Vicq de Cumptich

Flat File Issue N°3 — Gerstner's Capital

Typographische Monatsblätter (Research Archive) by Louise Paradis

Typographische Monatsblätter 1980, Issue 4 Cover design by  Christian Mengelt



Thinking with Type: Grids

The Vignelli Canon Pg 40-52

Grid Systems in Graphic Design by Josef Muller-Brockmann Pg. 9-13



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



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”


  • 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


Typography Part A — Bodoni Portfolio Template

Typography Part A — Caslon Portfolio Template

Revival Postcards Template



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


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 letters 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.


  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



  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


Tobias Frere-Jones: Break Things Deliberately



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

Week 4 HW


Toolspace by Jan MIddendorp

Spacing by James Edmonson


4 Revival Case Studies:
The four 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.

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.

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



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


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.

Team Bodoni
ATF Type Catalog 1934, p. 22.



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

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



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


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

Save the file as:

  • YourName_Regulated_BodoniBold.pdf

  • YourName_Distinctly_CaslonHeavy.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 Initial (if appiclable)
Line 2: Last Name
Line 3: Typography I

Save the file as:

  • YourName_NameTag_BodoniBold.pdf

  • YourName_NameTag_CaslonHeavy.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?

Revise your Film Title 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_MovieTitle_Version-0#_Draft-003.jpg


Email me and bring printed copies of:

  1. YourName_RegulatedBodoniBold.pdf or YourName_DistinctlyCaslonHeavy.pdf

  2. YourName_NameTagBodoniBold.pdf or YourName_NameTagCaslonHeavy.pdf

  3. The third draft of Film Title Lettering piece.

Week 3 HW


Call It What It Is by John Downer

Drawing for Interpolation by Erik van Blokland



Week 3 videos on the Lectures section.



Typeface Mechanics: 001 by Tobias Frere-Jones

Typeface Mechanics: 002 by Tobias Frere-Jones

Type Terms Cheat Sheet

Type Cheat Sheet



The Bézier Game

Drawing for Interpolation

Hand Lettering: How to Vector Your Letterforms by Scott Biersack


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


Modern Techniques for Digitizing Script Alphabets by James Edmonson



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

Bodoni Team

  • Chris

  • David

  • Lee

  • Liping

  • Lupe

  • Qingqing

  • Shara Um

  • Teng


Caslon Team

  • Allen

  • Dani

  • Hannah

  • Jayy

  • Kiahra

  • Fons

  • FX

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

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.



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
    BodoniBold Revival_Template.eps

  • Bodoni_Words_Template.ai

  • CaslonHeavy Revival_Template.ai
    CaslonHeavy Revival_Template.eps

  • Caslon_Words_Template.ai



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. 

For Bodoni, typeset the words delegated, leagued, and eagled
Line 1: delegated
Line 2: leagued
Line 3: eagled

For Caslon, typeset the words stylistic, nittily, and instils.
Line 1: stylistic
Line 2: nittily
Line 3: instils

When you're done, export a pdf and email it to me named as:

  • YourName_BodoniBold_Words.pdf

  • YourName_CaslonHeavy_Words.pdf

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 Film Title 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_MovieTitle_Version-0#_Draft-002.jpg



  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 Film Title Lettering piece.

Week 2 HW

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


Lettering Handout



Read the following sections: Superfamilies, Caps and Small Caps, Mixing Typefaces
Thinking with Type by Ellen Lupton



Week 2 videos on the Lectures section.



The Dark Knight

  • Allen - Palatino Bold
  • Dani - Perpetua Bold
  • David - Salome Stencil
  • Fons - Helvetica Neue Bold
  • Jayy - Antique Olive Std. Black

Black Panther

  • Chris - Trade Gothic LT Std Bold No. 2
  • Hannah - Verdana Regular
  • Lee - Charter Roman
  • Lupe - Hobeaux Rococeaux Sherman
  • Qingqing - Eagle Lake Regular

The Social Network

  • FX - Impact Regular
  • Kiahra - Fira Mono Bold
  • Liping - Optima Bold
  • Shara - Input Mono Condensed Bold
  • Teng - Futura Bold



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.

Work on 3 directions for your lettering project.

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

  1. For each direction, please explain how the typeface you used as reference influenced your lettering piece and composition? Using proper terminology, talk about the typographic details you modified or left unchanged, as well as, the reasons why.
  2. What was the most difficult and the easiest part of this project? Why?
  3. What are some of the things you're happy and unhappy with on your lettering piece? Why?

Scan your 3 lettering pieces and save them as 300dpi high quality jpegs inside the Lettering folder on the Shared Drive as:

  • YourName_MovieTitle_Version-01_Draft-001.jpg    ☛    JonDoe_TheThing_Version-01_Draft-001.jpg
  • YourName_MovieTitle_Version-02_Draft-001.jpg    ☛    JonDoe_TheThing_Version-02_Draft-001.jpg
  • YourName_MovieTitle_Version-03_Draft-001.jpg    ☛    JonDoe_TheThing_Version-03_Draft-001.jpg



  1. Scan, upload, print, and pin your 3 lettering pieces to the board for critique at the beginning of the next class.
  2. Post your writings on the comments section and be ready to present your 3 directions at the beginning of next class.

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


Welcome to Type 1


I'm very excited to have you all in my class! The following weeks will be very intense but seriously fun. I hope you all had a great summer and are ready to work hard and learn as much as you can.

Here's the syllabus, please print, read, and bring any questions you have to our second class.


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.



EDM CLUB MEETINGS Coming Soon (Stay tuned).



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 remember, nothing is worse that not having your homework.



  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



Your writing homework assignment will be part of your Portfolio. Make sure you post your answers as comments on each homework assignment blog entry. 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



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.

Week 1 HW


What is Typography?

Read the following sections: Anatomy, Size, Scale, Type Classification, and Type Families.
Thinking with Type by Ellen Lupton



Week 1 videos on the Lectures section.



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.


This is a list collecting the reading assignments for this class:

Week 1 — 3

What is Typography? by Peter Biľak


Letter by Ellen Lupton


Read the following sections for Week 2: Anatomy, Size, Scale, Type Classification, and Type Families.

Read the following sections for Week 3: Superfamilies, Caps and Small Caps, Mixing Typefaces.

Class Questionnaire

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


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

Week 1

Helvetica by Gary Hustwit (2007)


Comic Sans: The Man Behind the World’s Most Contentious Font

You remember Comic Sans. You know, that irreverent, off-kilter font that came pre-programmed on 90s versions of Microsoft Word? In fact, you probably have very strong feelings about that font. Here's the story behind the most polarizing font ever made.


Week 2

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.


The secret language of letter design (with English subtitles) | Martina Flor

(Full English subtitles are available for this talk -- click the CC button in the bottom right of your screen to turn subtitles on.) Look at the letters around you: on street signs, stores, restaurant menus, the covers of books.


Live Hand Lettering with Mark Caneso - 1 of 3

Join Designer Mark Caneso on Adobe Live as he explores the limits of letterforms! This week Mark will create hand lettering illustrations that push the boundaries of size, shape and orientation in Illustrator CC. Mark Caneso is a designer living and working in Austin, Texas where he runs pprwrk studio, his independent graphic & typographic design endeavor.


Live Hand Lettering with Ryan Hamrick - 1 of 3

Join Lettering Artist and Designer Ryan Hamrick on Adobe Live as he designs and hand letters a quote for posters and t-shirts. This week, Ryan will teach you his entire process! Ryan is an independent lettering artist and designer based in Austin, TX.


Live Hand Lettering with Sindy Ethel - 1 of 3

Join Designer & Illustrator Sindy Ethel on Adobe Live as she hand letters in Illustrator and Photoshop CC. In this three part series Sindy will illustrate the same word, transforming it with unique effects & treatments on each day! Sindy is an Interactive Designer living and working in New York City.


Week 3

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.


Font Men by Dress Code

You may not have heard of Jonathan Hoefler or Tobias Frere-Jones but you've seen their work. Before their recent split, they collectively ran the most successful and well respected type design studio in the world, creating fonts used by everyone from the Wall Street Journal to the President of the United States. Font Men, gives a peek behind the curtain into the world of Jonathan and Tobias. Tracking the history of their personal trajectories, sharing the forces that brought them together and giving an exclusive look at the successful empire they built together. - Presented by AIGA to celebrate H+FJ's 2013 AIGA Medal, with additional support from the National Endowment for the Arts Directed & Produced by: Dress Code Cinematography by: Andre Andreev Edited by: Dan Covert Music & Sound by: YouTooCanWoo Animation/Design: Evan Anthony, John Custer, Joe Donaldson, Emil Bang Lyngbo, Josh Parker, Eddie Song Principal Cast: Jonathan Hoefler, Tobias Frere-Jones Shot on a Canon 7D


Week 4

Introducing Johnston100 by Monotype

Monotype introduces Johnston100: A contemporary update to Transport for London’s Johnston typeface, marking the centennial of its use across the London bus, rail and Underground systems. Remastered by Monotype to bring back the original flavour of the Johnston design developed 100 years ago, Johnston100 expands the palette of the original typeface to embrace both contemporary typographic trends and new digital requirements. Johnston100 includes five weights of the design, including two brand new contemporary weights: hairline and thin, and will start appearing across the TfL network later this year. Johnston was originally designed by Edward Johnston in 1916 and is instantly recognisable as the graphic language of London. Read the full story here: http://bit.ly/1PpCWSL


Neue Kabel: reshaping a lost classic by Monotype

Neue Kabel brings back the liveliness of the original's strikingly quirky characters, while adding in the long-lost italics and missing glyphs needed for it to address a wide range of editorial and branding purposes.


The Wolpe Collection by Monotype

Introducing The Wolpe Collection. Five typefaces by Berthold Wolpe, revived by Toshi Omagari, now reissued by Monotype. The Wolpe Collection brings together a restored set of typefaces by Berthold Wolpe – the designer behind some of the most beautiful and memorable book jackets released by British publisher Faber & Faber. Spanning striking display type, roman text faces, blackletter, and little-known designs that introduce a quirky retro sci-fi flavor, The Wolpe Collection, now revived by type designer Toshi Omagari, reinvigorates the work of a man who was quietly instrumental in the world of British visual culture. #MeetWolpe http://bit.ly/meetwolpe

Goudy & Syracuse: The Tale of a Typeface Found

The tale of rediscovering Sherman, a typeface designed by Frederic Goudy in 1910 and revived by Chester Jenkins in 2016 for Syracuse University. Featuring: Michael Bierut, Partner, Pentagram William T. La Moy, Librarian, Special Collections, E.S. Bird Library, Syracuse University Chester Jenkins, Typeface Designer, Village Client: Syracuse University Vice President of Communications and Chief Marketing Officer: Nicci Brown Executive Creative Director: Rob Rayfield Brand Designers/Creative Directors: Pentagram Partner-in-Charge/Designer: Michael Bierut Associate/Designer: Jesse Reed Produced by: Dress Code (dresscodeny.com) Director: Dan Covert Producer: Tara Rose Stromberg Cinematography: Claudio Rietti Assistant Camera: Kyle Anido Production Cordinator: Nick Stromberg Edit: Mike Cook and Dan Covert End Titles: Vincenzo Lodigiani Color: Mike Cook Music + Sound Design: YouTooCanWoo On Set Sound: Matteo Liberatore Shot on a Red Epic


Week 5

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.

Tobias Frere-Jones: Break Things Deliberately

About this presentation As one of the world’s leading typeface designers, and this year's 99U Alva Award winner, Tobias Frere-Jones believes that the best way to learn a new skill is to "break things down deliberately” to understand how it’s really done. In this talk, we learn to see the beauty in taking risks. Frere-Jones explains that in order to do our best creative work, we must not just permit moments of confusion, but actually go chase them. “When trying to figure out a problem, pause for minute, and see if you can make it worse,” he says. “A structure can really describe itself as it falls apart.” About Tobias Frere-Jones Over the past 25 years, Tobias Frere-Jones has established himself as one of the world’s leading typeface designers, creating some of the most widely-used typefaces, including Interstate, Poynter Oldstyle, Whitney, Gotham, Surveyor, Tungsten, and Retina. Tobias received a BFA in Graphic Design from the Rhode Island School of Design in 1992. He joined the faculty of the Yale University School of Art in 1996 and has lectured throughout the United States, Europe, and Australia. His work is in the permanent collections of the Victoria & Albert Museum in London and the Museum of Modern Art in New York. In 2006, The Royal Academy of Visual Arts in The Hague awarded him the Gerrit Noordzij Prijs for his contributions to typographic design, writing, and education. In 2013 he received the AIGA Medal in recognition of exceptional achievements in the field of design.