visual communication
Typography 1

 

  syllabus :: project 1 :: project 2 :: project 3 :: project 4 ::

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Professor: Andrea Herstowski
Office: 353 Chalmers Hall
Office hours: by appointment
email: herstow@ku.edu

Professor: Alex Anderson
Office: 353 Chalmers Hall
Office hours: by appointment
email: alexandersoncreative@gmail.com

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:: Links : start following...
:- Thinking with Type
:- Practical Typography
:- designobserver.com
:- friendsoftype.com
:- typographica.org
:- welovetypography.com

:- 25 Type Designers
:- 8 Faces
:- FontShop Spotlights
:- Fontshop Essays
:- I love Typography

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Project One:
Modular Font: Parts make the whole

Using the context of a modular letter construction you will create a prototype for a modular font by designing letters on a grid of squares or a grid of dots. You may substitute the curves and diagonals of traditional letterforms with gridded and rectilinear elements. You can not use handlettering or develop letters based on some existing font, the letters must be constructed. Your letterforms must be modular: parts of the letters are used to make other letters. Avoid making detailed “staircases,” which are just curves and diagonals in disguise.

This exercise looks back to the 1910s and 1920s, when avant-garde designers made experimental typefaces out of simple geometric parts. The project also speaks to the structure of digital technologies, from cash register receipts and LED signs to on-screen font display, showing that a typeface is a system of elements.

Project Learning Objectives
_ understand the anatomy of letterforms
/characters/glyphs
_ explore the expressive potential of typography
_ solve communication problems within given parameters
_ methodically document relevant design inspiration and process
_ present and assess work in a visually and verbally articulate manner
_ professionally document outcomes
_ demonstrate exemplary visual craft—hand and digital
_ Adobe Illustrator (pathfinder, clean vectors)
_ Glyphs (beginner level of the Glyphs program)

Design Canon
Emigre :: Zuzana Licko
Wim Crouwel : interview (sign up for CR it is free)
Reprise Typeface
Matthew Carter: untypical typefaces (type nerds only: snap on serifs)
House Industries: united_sans

There are hundreds of Type Designers you should continue to get to know them.
25 Type Designers by Steven Heller
8 Faces series of interviews with Type and Lettering Artist
FontShop Spotlights series of interviews with Type Designers. Fontshop Essays
I love Typography: lots of great articles

Project Deliverables (TBD)
working font (all caps or all lowercase -- not both)
project board(s)
animated gif
behance page
process book

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Monday, August 20
_ Class Syllabus

HOMEWORK and BRING
_ WATCH: Parts of the Lette
r (take notes)
_ READ: letterfountain.com/drawingtofont.html (take notes)
_ READ: Designing Type:
pages 11-12, 19-20, 73-74, 113-114, 135-136 (take notes)
_ BRING TO NEXT CLASS: Computer, Sketchbook, Tracing paper, Pens, Pencil..:
you will need tracing paper for the next class. * you can share a pack pf tracing paper with a person or purchase a roll. You will need at least 10 sheets. You need pencils, black pens think and thin.
_ Sign up for dropbox (basic free version) or use Google Docs to access and backup files.

_Ambitious and ready to go watch and try...FontStruct, (online Tutorial, more tutorials)

Take notes about the readings and video
. Bring them to class

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HALLMARK THIS THURSDAY GO!

August 23
Ben Barry : Designer
Ben is an American graphic designer dividing his time between Portland, Oregon and San Francisco, California. He currently leads design for OpenAI, and is the founder of the design studio Nonlinear. Previously, as one of the first communication designers to join Facebook’s team in California, his focus was on developing Facebook’s internal culture, voice and brand. Most notably, he cofounded the Facebook Analog Research Laboratory, an internal print studio and art program.

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Wednesday, August 22
INCLASS
_ Parts of the Letter (refresher)
_ Anatomy of Type.pdf (refresher)
_ modular fonts : united_sans : two plus two : fleisch
_ Grids for sketching
_ Intro FontStruct, (online Tutorial, more tutorials)
_ Designing Type

When designing fonts you always start with a few core letters, such as A, D, H, G, N, O, R, S, and V. You can draw all uppercase or lowercase or try both. The letters must be constructed, based on some set of modular forms, building curves, lines, and shapes that will reappear throughout the font. All the letters in a typeface are distinct from each other, yet they share many attributes, such as x-height, line weight, stress, and a common vocabulary of forms and proportions. You can control the spacing of the typeface by adding blank areas next to each character as well as creating kerning pairs that determine the distance between particular characters. Producing a complete typeface is an enormous task. However, for people with a knack for drawing letterforms, the process is hugely rewarding.

IN CLASS
start by using the given grids and only designing a few letters letters (all caps OR all lowercase). Use the time to wrap your head around how to use, manipulate the grid, how to create your own modulars, explore how tall and thin a typeface can be or how bold, short and thick, tall and thick, short and thin... *letters have to be filled not outlined. letters have work in black only. one color not multiple colors.
H, O, R, M, S
or
h, o, r, m, s

HOMEWORK
Research: http://modulartype.tumblr.com/ (don't be overly influenced -- no coping)

READ:
choose at least 2 to read about 25 Type Designers by Steven Heller (take notes)

READ: choose at least 2 to read about 8 Faces (take notes)
TRY: FontStruct, (online Tutorial, more tutorials)
EXPLORE + CREATE: 25
different fonts with 8 letters in each font

Before you leave make sure you understand the homework and the difference between handlettering and constructed letterforms/characters. You can only make constructed modular letterforms.

Based on what you did in class / what you learned in class finish 25 studies/sets (all 8 letters need to be used in each study). Organize your sketches while you are working. Use as many pages as you need to keep things organized and clear. Start by using the handouts to create the your initial studies. Once you get started you can also create your own grids/parts/ modulars. EXPLORE have fun. This should not be torture. Ugly is awesome. You have to make. The only thing you can't do is hand-letter letterforms. You just can't hand draw letters they have to be constructed. Make sure you know what this means before you start your homework!

You can do all 25 studies by hand (each study has 9 letters in them)
OR
15 studies by hand and 10 in Fonstruct
(you have to save and show them). If you hate fontstruct then don't use it! just try and and decide if you LOVE it you can only make 10 different fonts for your homework the rest have to be by hand)
Explore. Should be fun not torture. Fonstruct Shortcuts

H, O, R, M, S, A, D, G
or
h, o, r, m, s, a, d, g

Ready to present:
Have your 25 studies (with 8 letters in each study) in some form that can be pinned up for a crit. If you drew in pencil you need to go back and use pen, do not leave letters in outline form, fill them in, if you used fontstruct you have to print out your studies.

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Monday, August 27

_ Pin-up your 25 different sets of the letters H, O, R, M, S, A, D, G or h, o, r, m, s, a, d, g
_ Letterform construction
_ Illustrator Tutorial (path finder, outline view = command y,...)

HOMEWORK
Choose 3 most successful/interesting studies, put them into illustrator.

Use the template
, draw each of your characters carefully and to the correct size, and explore different solutions to letters that are giving you trouble, refine in Illustrator and

Add these 6 letters to your 3 font directions: E U N T W Z /or/ e u n t w z

Print them out so we can see all the letters.

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Wednesday, August 29

_ Pick final typeface direction
_ Define a moodboard your font

HOMEWORK
Finish characters: all the lower case OR all the upper case in illustrator or fontstruct.

Promote: Mood, Tone, Attributes of your font. What is the mood and tone? Develop 6 different design directions that exemplify your font. (subvert it, match it, enhance it, counter it, challenge it).

Design Direction = 1 image, 1 word, 1 pangram/phrase/lyric (at least 3 words), and WHY/the Concept. Organize each design direction onto a 11 x 17 (= 6 sheets total)

* If you use FontStruct export as a font and put each letter in Illustrator and outline so your letters are objects in Illustrator for class.

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Monday, September 3: No Class: Labor Day
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Wednesday, September 5

_ Pick Design Direction
_ Build Illustrator Template, Build font in Glyphs

HOMEWORK
_ Start getting all your letters into Glyphs get as many as you can into the program.
_ Refine your Design Direction
_ 3 Design options on how you will show this project on Behance 1400px x ____ : has to include (short intro about the project, 1 image, 1 word, 1 phrase, animated gif, full alphabet and show how it is constructed -- the modules)

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Monday, September 10

_ Work in class on refinements in Glyphs and Behance ideas and make process book

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Wednesday, September 12

DUE
_ Behance ( a minimum of how to show off your font: 1 image, 1 word, 1 phase, animated gif, full alphabet, construction: how did you use a modular?)
_ Process Book (physical or as a pdf) must be well organized, labeled, name on it!. project description and project overview.
_ Put Font File on the Server
- (1) 11 x 17 Black and White page with a pangram (all letters in one sentence)