Type 1 Fall 2019

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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 Bodoni or Caslon 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.

Instruction
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.

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.
http://

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 6 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 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
 

RESOURCES

BELY by Roxane Gataud

https://www.type-together.com/bely-font

ROBINSON by Greg Gazdowicz

https://commercialtype.com/catalog/robinson

Our favorite Typefaces of 2017 by Typographica

https://typographica.org/features/our-favorite-typefaces-of-2017/

For Reference

https://www.fonts.com/

https://www.myfonts.com/

https://fontsinuse.com/

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

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

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

https://www.monotype.com/fonts/walbaum

https://commercialtype.com/

http://showcase.commercialtype.com/

https://www.grillitype.com/

https://www.typotheque.com/

https://www.productiontype.com/

https://fontofthemonth.club/

https://ohnotype.co/

https://www.futurefonts.xyz/

https://fonts.adobe.com/

https://fontstand.com/

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 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.

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. 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.

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

Answer the following questions:

Name *
Name
 

Type Specimens List

Reph 👉

Inud 👉

Di 👉

Elias 👉

Hager 👉

Jackybeth 👉

Marcella 👉

Mafe 👉

Miguel 👉

Syed 👉

Vadim 👉

WIlmer 👉

Xixi 👉

Yamil 👉

FOR REFERENCE

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

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

 

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 7 HW

IN CLASS

Document Setup

  1. Open InDesign & hit Cmd+N to create a new document

  2. Intent = Print

  3. Units = Inches

  4. Width = 5 in

  5. Height = 6.5 in

  6. Orientation = Portrait

  7. Check Facing Pages

  8. No. of Pages = 16

  9. Column Number = 3, Gutter = 12pt or 1p0

  10. Margins = 24pt or 2p0 (top, bottom, left, and right)

  11. Bleed = .125in or 0p9 (top, bottom, left, and right)

  12. Hit Create

Baseline Grid

  1. Hit Cmd+K to access the Preference window and go to the Grids tab.

  2. Color = Light Gray

  3. Start = 0px

  4. Relative to: Top of Page

  5. increment = 12pt

  6. View Threshold = 5%

  7. Hit Ok

  8. Go to the View Menu, select Grids & Guides, then select Show Baseline Grid

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. Double click on the Master Page

  2. Go to the Layout Menu and select Ruler Guides… and change the color to Red

  3. Go to the Layout Menu and select Create Guides.. and check the preview box.

  4. Rows Number = 6

  5. Gutter = 12pt

  6. Options: Fit Guides to: Margins

  7. Check Remove Existing Ruler Guides

  8. Hit Ok

  9. Exit master page by double clicking on page 1

Text Frame Options

  1. Hit Cmd+B and on the Baseline Option tab set the Offset to Leading

  2. Hit Ok

 

AVANT GARDE RESEARCH BOOKLET

Turn your presentation into a 16 page booklet documenting your findings. Here’s the outline of of the book and how to organize your research.

  1. Cover

  2. Inside Cover - Table of Contents

  3. Grids - Page 1

  4. Grids - Page 2

  5. Grids - Page 3

  6. Grids - Page 4

  7. Display Type - Page 1

  8. Display Type - Page 2

  9. Display Type - Page 3

  10. Display Type - Page 4

  11. Text Type - Page 1

  12. Text Type - Page 2

  13. Text Type - Page 3

  14. Text Type - Page 4

  15. Inside Back Cover - Colophon

  16. Back Cover

Requirements:

  • Use only one font.

  • Smallest allowed point size is 6pt.

  • Text size 9.5/12 (this means 9.5 point size and 12 pt line space)

  • Smallest lines space size is 12pt—increase or decrease by multiples of 6 or 3. For example 15/18, 20/24, etc. See what looks right for you.

  • You must use all 16 pages

  • Make sure to include your written observations appropriately (answers to questions from week 6).

  • Bring trimmed booklets to next class

  • See image below for reference.

ANSWER

Answer the following questions before the beginning of next class:

  1. What font did you choose? Why?

  2. How did you change the font character and paragraph settings for text and display?

  3. What changes did you make to translate your presentation into a booklet? List them.

DO

Work on the Avant Garde Research Booklet Project and email me a pdf of your presentation named as:

  • YourName_AvantGarde-VolumeX_Booklet_2019-10-18.pdf

BRING NEXT WEEK

  1. Email me a pdf of your booklet and bring a trimmed assembled hard copy.

  2. Post your writings on the comments section and be ready to present at the beginning of next class.

 

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

GRIDS

Presentation Document Setup

  1. Open InDesign & hit Cmd+N to create a new document

  2. Intent = Web

  3. Units = Pixels

  4. Width = 1920

  5. Height = 1080

  6. Orientation = Landscape

  7. Uncheck Facing Pages

  8. No. of Pages = 1

  9. Column Number = 12, Gutter = 12px

  10. Margins = . 5in or 36px (top, bottom, left, and right)

  11. Bleed = 0px (top, bottom, left, and right)

  12. Hit Create

Baseline Grid

  1. Hit Cmd+K to access the Preference window and go to the Grids tab.

  2. Color = Light Gray

  3. Start = 0px

  4. Relative to: Top of Page

  5. increment = 12pt

  6. View Threshold = 5%

  7. Hit Ok

  8. Go to the View Menu, select Grids & Guides, then select Show Baseline Grid

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 on Master Page

  1. Double click on the Master Page

  2. Go to the Layout Menu and select Ruler Guides… and change the color to Red

  3. Go to the Layout Menu and select Create Guides.. and check the preview box.

  4. Rows Number = 5

  5. Gutter = 12px

  6. Options: Fit Guides to: Margins

  7. Check Remove Existing Ruler Guides

  8. Hit Ok

  9. Exit master page by double clicking on page 1

Text Frame Options

  1. Hit Cmd+B and on the Baseline Option tab set the Offset to Leading

  2. Hit Ok

Avant Garde Magazine Dimensions

  1. Select the Rectangle Frame Tool (F) and click anywhere on the page.

  2. For a cover or a single page, input the following dimensions:

    • Width = 10.875 in or 783 px

    • Height = 11.1875 in or 805.5 px

    • Hit Ok

    • Hit Cmd+D and place any single page of the magazine from Avant Garde JPEGs

    • Go to the Object Menu > Fitting > Fit Content Proportionally or Option+Shift+Cmd+E

  3. For a spread, input the following dimensions:

    • Width = 21.75 in or 1566 px

    • Height = 11.1875 in or 805.5 px

    • Hit Ok

    • Hit Cmd+D and place any single page of the magazine from Avant Garde JPEGs

    • Go to the Object Menu > Fitting > Fit Content Proportionally or Option+Shift+Cmd+E

READ

Thinking with Type: Grids
http://thinkingwithtype.com/grid/

The Vignelli Canon Pg 40-52

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

CHECK OUT

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

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/

  

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

DISPLAY VS TEXT TYPEFACES

Display Type

  1. Tighter, precise spacing designed to enhance the visual impact of a keyword or a headline.

  2. Typographers, typically, manually adjust the kerning and/or tracking to find best fit.

  3. Typographic features and details are designed to produce eccentric, ornamental, and punchier designs.

  4. The design features visibly sharp and well-defined forms.

  5. Uniqueness, expressiveness, and impact are more important than readability and legibility.

  6. Designed to work best from ~14pt and up.

Text Type

  1. Looser, fine-tuned spacing designed to improve the readability and legibility of extended passages of body text.

  2. Kerning should be left untouched. Typographers, typically, adjust only the tracking to find best fit.

  3. Typographic features and details are designed to produce even texture, rhythm, and sometimes, economy.

  4. The design visible features are restrained and focus on functionality. This is often achieved through distinct open forms that reduce ambiguity and increase legibility and readability.

  5. Readability and legibility are more important than uniqueness, expressiveness, and impact.

  6. Designed to work best from ~14 pt and below.

OPTICAL SIZES CASE SUDIES — Walbaum and Helvetica Now

Optical sizes are size specific adjustments to type design.

WALBAUM by Monotype
https://www.monotype.com/fonts/walbaum/ 

Meet Walbaum, a restored modern serif font that exudes elegance by Monotype
https://www.monotype.com/resources/font-stories/meet-walbaum-a-restored-modern-serif-font-that-exudes-elegance/ 

What Would Justus Do? The graceful restoration of a 200-year-old serif typeface shows the problem with digital fonts by Anne Quito
https://qz.com/quartzy/1310669/monotype-restored-the-font-walbaum-a-200-year-old-serif-typeface/


HELVETICA NOW by Monotype
https://www.monotype.com/fonts/helvetica-now/

What is optical sizing and how can it help your brand? by Monotype
https://www.monotype.com/resources/articles/what-is-optical-sizing-and-how-can-it-help-your-brand/ 

From Neue to Now: How Helvetica evolved for the 21st century by Monotype
https://www.monotype.com/resources/font-stories/from-neue-to-now-how-helvetica-evolved-for-the-21st-century/ 



FURTHER READING

Size-specific adjustments to type designs by Just Another Foundry
https://justanotherfoundry.com/size-specific-adjustments-to-type-designs

Tencent Sans by Monotype
https://www.monotype.com/resources/case-studies/tencent-expands-global-presence-with-a-new-brand-identity-and-typeface/ 

Benton Modern by Webtype
https://bentonmodern.webtype.com/formal/ 

Selecting Typefaces for Body Text by Tim Brown
https://practice.typekit.com/lesson/selecting-typefaces-for-body-text/ 

Inside the fonts: optical sizes by Bald Condesed
https://www.typenetwork.com/news/article/inside-the-fonts-optical-sizes/ 

Commercial Classics by Commercial Type (Display and Text Typefaces)
https://commercialclassics.com/

FutureFonts (Display Typefaces)
https://www.futurefonts.xyz/


REFERENCE

Practical Typography by Matthew Butterick
https://practicaltypography.com/

Typekit Practice by Adobe
https://practice.typekit.com/

Professional Web Typography by Donny Truong
https://prowebtype.com/

Google Fonts
https://fonts.google.com/featured?stylecount=1

Google Design
https://design.google/library/google-fonts/?utm_source=Google&utm_medium=Fonts&utm_campaign=Article%20Tab



RESEARCH ASSIGNMENT

Deconstructing Avant Garde

For the following two weeks we’ll be exploring typographic grids, layouts, and typefaces through the deconstructions and examination of the legendary magazine Avant Garde.

Research Instructions

  • Grid

    • Study the grid system of the magazine by analyzing one volume of your choice in both print and digital form.

    • Extract the layout specifications and using InDesign, recreate the various layout templates used throughout the magazine.

    • Answer the following questions:

      • What kind of grid system does the magazine use?

      • How many different layouts does magazine use? What are they?

      • Are there patterns in the way they switch from one layout to another?

      • Do you have a favorite layout? why?

  • Display Type

    • Study the use of display typography in the magazine by identifying and isolating all instance of their use.

    • Sort all the instances into relevant categories including: lettering, sans serif, serif, script, etc.

    • Choose your favorite instance of display typography and identity the typographic details that make it a piece of display typography.

    • Answer the following questions:

      • How many instances of display typography can be found in the magazine?

      • What are the various categories you were able to sort the instances in?

      • Which one was your favorite instance of display typography? Why? What are the typographic qualities that make it a piece of display typography?

  • Text Type

    • Study the use of text typography in the magazine by choosing an article and analyzing the use of typeface(s), type styles, type weights, drop-caps, small-caps, line-spacing, paragraph spacing, indentation, hyphenation, ragging, justification, tracking, widows, orphans, special characters, etc.

    • Choose a spread, isolate the body copy, and indicate the uses of the typographic decisions mentioned above.

    • Answer the following questions:

      • How many typefaces does the article use? How many fonts? Which weights and styles?

      • How does the typographer handle line-spacing and paragraph spacing?

      • How does the typographer handle the length of the lines of text?

      • Are there any widows or orphans present in the typography?

      • Are there any uses of special or obscure characters? If so, can you explain their use based on the context and typography of the article?

  • Presentation

    • Gather all your research (observations and writings) and make a presentation about the grid system, display, and text typography of your magazine.

    • Use the checklist below to build your presentation.

    • The presentation should answer the questions posed above.

    • The presentation should be about 5 mins with 5 mins for Q&A.

Presentation Slides Checklist

  • Cover: design a cover for your presentation based on your research

  • Magazine grid system

  • Magazine layouts

  • Magazine layout patterns

  • Favorite layout

  • Uses of display typography

  • Display typography categories

  • Favorite use of display typography

  • Anatomy of display typography

  • Isolated text typography

  • Overview of typefaces/styles/weights/ used in the article

  • Overview of line and paragraph spacing

  • Use of ragging, justification, and/or hyphenation

  • Any widows or orphans

  • Special Characters

Deadlines:

  • October 11: Research Class Presentation

  • October 17: Research Booklet Class Presentation


RESOURCES

Mindy Seu
http://mindyseu.com/

Avant Garde
https://avantgarde.110west40th.com/

Avant Garde JPEGs

DO

Work on the Avant Garde Research Project and email me a pdf of your presentation named as:

  • YourName_AvantGarde-VolumeX_2019-10-04.pdf

Consolidate your answers to the research questions on the Research Instructions above and post your writing as a comment on the blog.

BRING NEXT WEEK

  1. Email me a pdf of your presentation before class.

  2. Post your writings on the comments section and be ready to present at the beginning of next class.

 

Week 5 HW


DOWNLOAD

Typography Part A — Bodoni Portfolio Template

Revival Postcards Template

 

WATCH

An Interview with Dan Rhatigan by Monotype

Tobias Frere-Jones: Break Things Deliberately

 

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 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.

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.

DO

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

  • YourName_Typography-PartA_CaslonPortfolio.indd

  • YourName_Typography-PartA_BodoniPortfolio.indd

To see what the portfolio looks like, check the portfolio sample below:

Typography Part A — Portfolio Sample

DUE on Oct 4th

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

Week 4 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://superpolator.com/assets/images/drawingForInterpolation.pdf

DIGITIZING LETTERFORMS

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

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

Bodoni Team

  • Aynur

  • Elias

  • Hager

  • Xixi

  • Miguel

  • Reph

  • Syed

  • Vadim

 

Caslon Team

  • Jackeline

  • Wilmer

  • Mafe

  • Marcella

  • Coby

  • Yamil

  • Di

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/adobe/adobe-caslon/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

 

REVIVAL FILES

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
    Bodoni_Words_Template.eps

  • CaslonHeavy Revival_Template.ai
    CaslonHeavy Revival_Template.eps

  • Caslon_Words_Template.ai
    Caslon_Words_Template.eps

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

 

WATCH

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.

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

 

 

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

DO

Scan your Foundational Hand, Roman Minuscules, Typecooker Translation, and Typecooker Expansion work from Week 3.

Complete your Roman Minuscules practice sheets for next week. Use a pointed nib.

  1. alphabet necklace in between n’s (fill up the page).

    • nanbncndnenfngnhninjnknlnmnnnonpnqnrnsntnunvnwnxnynzn

  2. alphabet necklace o’s (fill up the page).

    • oaobocodoeofogohoiojokolomonooopoqorosotouovowoxoyozo

Complete your Foundational Hand practice sheets for next week. Use C1 nib at 30°

  1. alphabet necklace in between n’s (fill up the page).

    • nanbncndnenfngnhninjnknlnmnnnonpnqnrnsntnunvnwnxnynzn

  2. alphabet necklace o’s (fill up the page).

    • oaobocodoeofogohoiojokolomonooopoqorosotouovowoxoyozo

Revise your TypeCooker Expansion worksheet

  • 1 TypeCooker worksheets at the Easy Level.
    Keyword: Ranges

    Expansion Contrast: The contrast produced by a pointed nib pen.

Revise your Typecooker Translation worksheet.

  • 1 TypeCooker worksheets at the Easy Level.
    Keyword: Ranges


    Translation Contrast: The contrast produced by a broad nib pen.

Scan your Roman Minuscules practice sheets and save them as 300dpi high quality jpegs inside the Calligraphy folder on the Shared Drive as:

  • YourName_RomanMinuscules_Week04_001.jpg

  • YourName_RomanMinuscules_Week04_002.jpg

Scan your Foundational Hand practice sheets and save them as 300dpi high quality jpegs inside the Calligraphy folder on the Shared Drive as:

  • YourName_FoundationalHand_Week04_001.jpg

  • YourName_FoundationalHand_Week04_002.jpg

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

  • YourName_TypeCooker_Week04_Easy_001-Expansion.jpg

  • YourName_TypeCooker_Week04_Easy_001-Translation.jpg

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
    or

  • 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 using your digitized letterforms
Line 1: delegated
Line 2: leagued
Line 3: eagled

For Caslon, typeset the words stylistic, nittily, and instils using your digitized letterforms.
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
    or

  • 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 reviving a typeface.

  2. What's your favorite feature (typographic detail) of Caslon or Bodoni? Why?

  3. What was the hardest and easiest letter (or part of a letter) to draw? Why?

  4. What do you think are your strengths and weaknesses so far?

BRING NEXT WEEK

  1. Scan, upload, and pin your four calligraphy practice sheets (Foundational Hand and Roman Minuscules) for discussion at the beginning of the next class.

  2. Scan, upload, print, and pin your two Typecooker lettering pieces (translation and expansion) to the board for critique at the beginning of the next class.

  3. A printout of the completed BodoniBold Revival_Template.ai or CaslonHeavy Revival_Template.ai worksheet.

  4. A printout of the completed Bodoni_Words_Template.ai or Caslon_Words_Template.ai worksheet.

  5. Post your writings on the comments section and be ready to present discuss both your calligraphy and lettering assignments at the beginning of the next class.

Week 3 HW

READ

Toolspace by Jan MIddendorp
http://letterror.com/articles/toolspace.html

Spacing by James Edmonson
https://ohnotype.co/blog/spacing

Designing Women by Readymag
Essay
https://designingwomen.readymag.com/essay/

Profiles
https://designingwomen.readymag.com/profiles/

WATCH

Week 3 videos on the Lectures section.

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

Kerning Game
https://type.method.ac/

DO

Scan your Foundational Hand practice sheets and Typecooker Translation work from Week 2.

Complete your Foundational Hand practice sheets for next week. Use C1 nib at 30°

  1. n o n o n o… sequence (fill up the page).

  2. alphabet necklace in between n’s (fill up the page).

    • nanbncndnenfngnhninjnknlnmnnnonpnqnrnsntnunvnwnxnynzn

  3. alphabet necklace o’s (fill up the page).

    • oaobocodoeofogohoiojokolomonooopoqorosotouovowoxoyozo

Complete your Roman Minuscules practice sheets for next week. Use a pointed nib.

  1. n o n o n o… sequence (fill up the page).

  2. alphabet necklace in between n’s (fill up the page).

    • nanbncndnenfngnhninjnknlnmnnnonpnqnrnsntnunvnwnxnynzn

  3. alphabet necklace o’s (fill up the page).

    • oaobocodoeofogohoiojokolomonooopoqorosotouovowoxoyozo

Revise your Typecooker Translation worksheets.

  • 3 TypeCooker worksheets at the Easy Level.
    Keyword: Ranges


    Translation Contrast: The contrast produced by a broad nib pen.

Complete your TypeCooker Expansion worksheets.

  • 3 TypeCooker worksheets at the Easy Level.
    Keyword: Ranges

    Expansion Contrast: The contrast produced by a pointed nib pen.

Write a brief paragraph that answers these 5 questions and post them as one comment before the beginning of the next class:

  1. Calligraphy Roman Minuscules: Which letter(s) was/were the most difficult to write? Why?

  2. Calligraphy Roman Minuscules: Which combination or pairs of letters were the most difficult to space? Why do you think that is?

  3. Typecooker Expansion Easy Level: Which parameters were the most challenging or fun to draw? Why?

  4. Typecooker Expansion Easy Level: Please explain how you applied expansion contrast to your lettering pieces. Using proper terminology, talk about the typographic details that make transitional contrast.

  5. Typecooker: If you had to change one parameter, which one would it be? Why?

Scan your Roman Minuscules practice sheets and save them as 300dpi high quality jpegs inside the Calligraphy folder on the Shared Drive as:

  • YourName_RomanMinuscules_Week03_001.jpg

  • YourName_RomanMinuscules_Week03_002.jpg

  • YourName_RomanMinuscules_Week03_003.jpg

Scan your Foundational Hand practice sheets and save them as 300dpi high quality jpegs inside the Calligraphy folder on the Shared Drive as:

  • YourName_FoundationalHand_Week03_001.jpg

  • YourName_FoundationalHand_Week03_002.jpg

  • YourName_FoundationalHand_Week03_003.jpg

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

  • YourName_TypeCooker_Week03_Easy_001-Expansion.jpg

  • YourName_TypeCooker_Week03_Easy_002-Expansion.jpg

  • YourName_TypeCooker_Week03_Easy_003-Expansion.jpg

  • YourName_TypeCooker_Week03_Easy_001-Translation.jpg

  • YourName_TypeCooker_Week03_Easy_002-Translation.jpg

  • YourName_TypeCooker_Week03_Easy_003-Translation.jpg

BRING NEXT WEEK

  1. Scan, upload, and pin your six calligraphy practice (Foundational hand and Roman Minuscules) sheets for discussion at the beginning of the next class.

  2. Scan, upload, print, and pin your six Typecooker lettering pieces to the board for critique at the beginning of the next class.

  3. Post your writings on the comments section and be ready to present discuss both your calligraphy and lettering assignments at the beginning of the next class.

Week 2 HW

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

REFERENCE

Speedball nib widths
C0 – 5mm
C1 – 4mm
C2 – 3mm
C3 – 2mm
C4 – 1.5mm
C5 – 1mm
C6 – 0.5mm

Ductus by Josselin Cuette
Customize and download your own calligraphy guides:
http://ductus.josselincuette.com/#whatis

Online Calligraphy Stores
John Neal Bookseller: https://www.johnnealbooks.com/
Paper & Ink Arts: https://www.paperinkarts.com/

Calligraphy Organizations
Society of Scribes NYC: http://societyofscribes.org/
Friends of Calligraphy CA: https://www.friendsofcalligraphy.org/

READ

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

FURTHER READING

The Trajan Inscription by Codex99
http://codex99.com/typography/21.html

Why Trajan, the World’s Oldest Typeface, Still Matters by Angelynn Grant
https://eyeondesign.aiga.org/why-trajan-the-worlds-oldest-typeface-still-matters/

Adrian Frutiger 1928–2015 by Jürgen Siebert
https://www.fontshop.com/content/adrian-frutiger-1928-2015

Designing type systems by Peter Biľak
https://ilovetypography.com/2012/04/11/designing-type-systems/

TDC Medal Awarded to Gerrit Noordzij by Angela Voulangas and Nick Sherman
https://www.tdc.org/news/tdc-medal-awarded-to-gerrit-noordzij/

Mixing type – Part 1: Macro by Ferdinand Ulrich
https://www.fontshop.com/content/how-to-mix-type

Mixing type – Part 1: Macro by Ferdinand Ulrich
https://www.fontshop.com/content/how-to-mix-type

Building a Noordzij Cube by Erik van Blokland
http://letterror.com/misc/noordzij-cube.html

Toshi Omagari's Noordzij Cube
https://www.instagram.com/p/BJrEejwhJv_/

Backassward by David Jonathan Ross
https://djr.com/backasswards/

TypeCooker by Erik van Blokland
http://typecooker.com/
https://github.com/LettError/TypeCooker

Drawbot by Just van Rossum, Erik van Blokland, Frederik Berlaen
http://www.drawbot.com/index.html

Gerrit Noordzij describes very well the differences in the interaction of the forms with their counterforms.
Image from Ambroise Typeface In Details by Jean François Porchez

Foundational Hand, Broad Nib — Translation

Roman Minuscule, Ponted Pen — Expansion


WATCH

Also check out the rest of the Week 2 videos in the Lectures section.

House Industries: Interview with Ken Barber

 

The Art of Hermann Zapf by Hallmark

 

Doyald Young Logotype Designer by Lynda.com

 

Erik van Blokland on Drawing

 

Straight and Round Patterns Reference

Calligraphy_Patterns.JPG
 

DO

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

Complete your Foundational Hand calligraphy practice sheets for next week. Use C1 nib at 30°

  1. Straight and round patterns (lines 1-6 below).

    • Single spaced

    • Double spaced

    • Tops and bottoms

    • n string (double space in between n’s)

    • o string (single space in between o’s)

    • n o string (single space in between n’s and o’s)

  2. n & o sequence (lines 1-6 below).

    • n string (double space in between n’s)

    • o string (single space in between o’s)

    • n string (double space in between n’s)

    • o string (single space in between o’s)

    • n string (double space in between n’s)

    • o string (single space in between o’s)

  3. n o n o n o… sequence (fill up the page).

  4. alphabet necklace in between n’s (fill up the page).

    • nanbncndnenfngnhninjnknlnmnnnonpnqnrnsntnunvnwnxnynzn

  5. alphabet necklace o’s (fill up the page).

    • oaobocodoeofogohoiojokolomonooopoqorosotouovowoxoyozo

  6. the quick brown fox jumps over the lazy dog (fill up the page).

Complete your TypeCooker worksheets.

  • 3 TypeCooker worksheets at the Starter Level.
    Keyword: Hello

Complete your TypeCooker Translation worksheets.

  • 3 TypeCooker worksheets at the Easy Level.
    Keyword: Ranges

    Translation Contrast: The contrast produced by a broad nib pen.

Write a brief paragraph that answers these 5 questions and post them as one comment before the beginning of the next class:

  1. Calligraphy Foundational Hand: Which letter(s) was/were the most difficult to write? Why?

  2. Calligraphy Foundational Hand: Which combination or pairs of letters were the most difficult to space? Why do you think that is?

  3. Typecooker Starter Level: Which parameters were the most challenging or fun to draw? Why?

  4. Typecooker Translation Easy Level: Please explain how you applied translation contrast to your lettering pieces. Using proper terminology, talk about the typographic details that make transitional contrast.

  5. Typecooker: If you had to change one parameter, which one would it be? Why?

Scan your Foundational Hand practice sheets and save them as 300dpi high quality jpegs inside the Calligraphy folder on the Shared Drive as:

  • YourName_FoundationalHand_Week02_001.jpg

  • YourName_FoundationalHand_Week02_002.jpg

  • YourName_FoundationalHand_Week02_003.jpg

  • YourName_FoundationalHand_Week02_004.jpg

  • YourName_FoundationalHand_Week02_005.jpg

  • YourName_FoundationalHand_Week02_006.jpg

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

  • YourName_TypeCooker_Week02_Starter_001.jpg

  • YourName_TypeCooker_Week02_Starter_002.jpg

  • YourName_TypeCooker_Week02_Starter_003.jpg

  • YourName_TypeCooker_Week02_Easy_001-Translation.jpg

  • YourName_TypeCooker_Week02_Easy_002-Translation.jpg

  • YourName_TypeCooker_Week02_Easy_003-Translation.jpg

 

BRING NEXT WEEK

  1. Scan, upload, and pin your six Foundational Hand calligraphy practice sheets for discussion at the beginning of the next class.

  2. Scan, upload, print, and pin your six Typecooker lettering pieces to the board for critique at the beginning of the next class.

  3. Post your writings on the comments section and be ready to present discuss both your calligraphy and lettering assignments at the beginning of the next class.

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

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 remember, nothing is worse that not having your homework.

 

IF YOU MISSED THE FIRST WEEK

  1. Make sure to complete the Garamond g assignment and wrote a comment on the blog Week1HW page. If you lost or damaged your reference g, you can print a new one from here.

  2. Make sure to complete and 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
Calligraphy Folder
Lettering Folder
Revival Source Files
Revival Templates
Portfolio Templates

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 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

 

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.

Welcome to Type 1

Hello!

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.

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

 

WATCH

Week 1 videos on the Lectures section.

 

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. We’ll study calligraphy and lettering next week.

You can find the materials online or at the following stores:



Class Questionnaire

Name *
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:

Readings

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

Week 1 — 3

What is Typography? by Peter Biľak

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

Letter by Ellen Lupton

http://thinkingwithtype.com/letter/

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.

Lectures

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 Art of Hermann Zapf by Hallmark

 

Doyald Young Logotype Designer by Lynda

 

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.