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.
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 ☛ 2:30–2:50pm
Group 2 ☛ 2:55–3:15pm
Group 3 ☛ 3:20–3:40pm
Group 4 ☛ 3:45–4:05pm
Group 5 ☛ 4:10–4:30pm
These mini-sites are online interactive type specimens for inspiration.
And many more!!!
Show, Don't Tell with Thierry Blancpain
DUE NEXT WEEK
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 March 29 — Before Class
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:
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:
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:
According to your research, what kind of typography was your typeface designed for? Please explain.
According to your research, what problems was your typeface trying to solve (if any) through its design according to the designer?
What features of the typeface do you like or dislike? Why?
What were some of the typeface features that you emphasized on your type specimen?
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.
Friday March 29 — End of class 5pm, midnight latest (anything after that 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:
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)?
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?
Was the type specimen easy to navigate?
What are some successful pages or spreads? Why? Talk about of pacing, continuity, hierarchy, and composition.
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.
Are there kerning issues, line-height issues, orphans, widows, hanging punctuation, or typos that the designer might have missed? Please list them out.
Is everything correctly and appropriately labeled?
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 may not be able to comment throughout the week 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.
TYPE CRIT BUDDIES
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!
***We’ll sort this out in class
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.)
Jessica — Jsanchez319@gmail.com
Francesca — F.email@example.com
Judith — firstname.lastname@example.org
Naidya — email@example.com
Lissy — Gonzalez.firstname.lastname@example.org
Andrew — email@example.com
Zenobia — firstname.lastname@example.org
Ashley — email@example.com
Genesis — firstname.lastname@example.org
Ellie — email@example.com
Rouya — firstname.lastname@example.org
Yuni — email@example.com
Violet — firstname.lastname@example.org
Betzaida — email@example.com
Charles — KoU7aQm3@protonmail.com