Self-Challenge: 31 Typefaces in 31 Days

The editor of the Book Covers blog (which I recommended you all begin viewing regularly for Project Three) has begun a spin-off blog called Type where he will attempt to create a new typeface each day for 31 days. Interesting idea and tremendous courage. Here is a little of what he's done so far...

I've added this link to our "Type Blogs" list of links over on the right.

Type Observation: Developing Your Own Collection

A better understanding of typography begins by observing typography in the world around you — the good and bad, the intriguing and questionable. This kind of observation is not just about typefaces and style, it's also about context and materials. If you don't already, carry a camera with you (or camera phone) to capture interesting type and its context. Bring it to class or email it to me and we'll post it here to discuss.

Highly ledgible sans serif stencil...until dismantled and the letters become abstracted

Parking garage wayfinding type, masked to point you toward the exit

Tile mosaic bar signage

Falling type, formal type, large type juxtaposed

Islamic script carved into wall as surface pattern

Crisp Gill Sans over narrow neon type on a curve

Vegas signage, old and new

White and black with a bit of red: Helvetica

Official type style on all buildings of the University of Salamanca, Spain

Official street signs of Malaga, Spain

Graffiti type in Sevilla, Spain

Inlaid type on gothic cathedral trap door, Spain

Hand-painted advertising, rural Ireland

Fading painted brick advertising, Ft. Point, Boston

Large scale, neon-filled type, Fenway, Boston

Carving in bronze, Spain

Hand-painted restaurant signage, Alabama

Graffiti juxtaposed with bold sans on a curve

Floor-to-ceiling museum signage, varnish and matte, Las Vegas

Hand-painted firehouse sign, rural New Hampshire

Motel signage, roadside between Boston and NYC

Animal tags, rural New Hampshire

Swirling languages, Eastern and Western, World of Coke

Digital wayfinding, streaming vertically, Madrid Airport

Project One: Connect the Dots

INSPIRATION
“A typographic sign is visually dynamic because of its interaction with the surrounding white space or void—the white of the paper. This form-to-void relationship is inherent in the totality of typographic expression.” Typographic Design: Form and Communication

“...It is the existence of intangible elements, the negative, in architectonic forms which makes them come alive, become human, naturally harmonize with one another, and enable us to experience them with human sensibility.” Amos Chang

INSTRUCTIONS
Given a four-letter word from the list below, develop a concept for a font whose forms consistently relate to the provided nine-by-nine grid of circles. Each circle in the grid must be either “on” or “off.” You have no curves or true diagonals. Pick one of the words below and render the letters from that word. Try ignoring the meaning of the word. Focus on formal aspects such as ascenders/descenders, serifs/no serifs, proportion, weight, etc. Sketch first using trace paper on top of the supplied printed grid, then work in Illustrator using the file provided.

ADVANCED TYPOGRAPHY STUDIO: Iteration Studies







COMPUTER TYPE: Iteration Studies

Charrette One: Sew Me What You Got

INSPIRATION
“The organization of letters on a blank page is the designer’s most basic challenge.” Ellen Lupton

“A typographic sign is visually dynamic because of its interaction with the surrounding white space or void—the white of the paper. This form-to-void relationship is inherent in the totality of typographic expression.” Typographic Design: Form and Communication

INSTRUCTIONS
Although this class is about designing with type, it is crucial to be intimately familiar with the anatomical workings of type. Subtle nuances that define the individual design of letters can be studied and expounded upon to better understand the subtleties and details of designing with type on any scale, be it letter, word, line or body. Using the supplied materials, create a lowercase letter a. Consider the following:

• Is it a serif, sans serif, or script?
• Does it include the upper terminal over the bowl, or is it italic style?
  
• What is its x-height? Width? Thickness?
• Is there variation in the weight of the lines (thicks/thins)?
• What does the counter (negative space) look like?

ADVANCED TYPOGRAPHY STUDIO





COMPUTER TYPE