Type 1 Fall 2018

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

Assignments | Syllabus | Readings | Lectures | Questionnaire | Alerts

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