inkycw

Designer

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Week 2: Type Classification

Practical research into the make up of a typeface. A useful exercise in observation, which gave much more detailed findings into the peculiarities of a typeface and an appreciation for subtle adjustments required in the make up of a balanced typeface which does not conform to a grid system. Futura for example, which might be classified as a geometric style sans serif, has very subtle contrast throughout, which is apparent under close scrutiny but generally this feature of the font is not registered immediately.

[clairenatwan]

Week 2: further research into type classification and construction

Wim Crouwel - New Alphabet

Clear emphasis on sticking to set of rules when constructing this typeface. Verticals and horizontals only- the result is pretty interesting even though not really useable. Note the a, x, s and z.

[clairenatwan]

A small black statue on the whiteness

Pablo Neruda

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"I am dreaming of a typography where…"

Repetition as a means of emphasis and reinforcement. Researching type hierarchy.

Helmut Schmid, 1998, back cover to the journal motif 6. Original was in English.

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Helmut Schmid (1967) Hand drawn title page 4527 for the Japanese company magazine of taiho pharmaceuticals Yo-ko-zu-na.

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Week 3 - Type Hierarchy

Small exercises in layout and type hierarchy. Using variations in position, weight and size to emphasise what, where, who & when.

At this stage, the notion of type hierarchy is achieved through only one variable.

[clairenatwan]

Week 3 - Type Hierarchy

This week we introduced grids to layout text. Extremely useful to help with alignment and organisation of information, but at the same time having a grid present also gave a more “controlled” layout.

[clairenatwan]

Week 1 dvc16 - Letterpress induction

Process, manual adjustments, tests :)

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Franchise Animography.

One of the typography related designs exhibited at the Designs of the year at the Design Museum.

This is ananimated typeface designed by 1 type designer and 110 animators. Each animator was asked to pick a glyph and animate it using no more than 4 colors, 25 frames and a 500 x 600 px canvas in Adobe After Effects. The animators had complete freedom to work their magic within those 25 frames. The result is a wide variety of styles and techniques. The color palette and letterforms tie it all together.

http://animography.net

[clairenatwan]

This is a great game ^_^. Makes adjustments to spacing easier seeing the whole word rather than just tracing out the letters consecutively with good spacing. This method is pretty tricky as without seeing all the letters from the outset, you aren’t always aware of the minimum spacing required for that particular word. Found this out when we traced out names in Week 1; a minimum letter space can be dictated by the letter combinations when sat together. Which vary with every word. In my case this would be the ‘r’ and the 'e’.

[clairenatwan]

Week 1 - DVC16 @ LCC Exercise in spacing using different fonts. Analogue approach to get us thinking about spacing theory (or lack of), negative space, counter space, letter shapes, and readability. Certain rules to note - lower case can be spaced closer together as the ascenders and descenders of a font contribute to their legibility. The eye recognises shapes. Upper case by contrast can benefit from more tracking to compensate for the lack of shape variation.

[clairenatwan]

Univers typeface designed by Adrian Frutiger in 1954. Classified as a neo-grotesque typeface, one based on the model of the 1898 typeface Akzidenz-Grotesk. A notable typeface for its well designed hierarchy which came in an extensive range of weights and styles.