Space * Character * Type

MA: Graphic Arts Journal

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Trying things out for the zine. Not very happy with it.

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I took some more random pictures of the area to have more collaging material for the zine. Speaking of collage - working on the cover for my critical evaluation gave me an idea on how to present my alphabet in the zine.

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A design of stickers promoting the project to be distributed in Bedminster.

I printed them out in Bower Ashton, but the quality was off. I don’t know if it was my file or the printer. I’ve made them bigger and will test it again with a different file when the digital print reopens.

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After some design and coding adventures, the download site for the typeface is finally here. I had to upload and generate the font a few times due to technical issues (mostly contour direction incompatible with file format) - learned a bit in the process. For example, the second pic shows a table with a missing ‘S acute’ character.

In the end I decided to step back from monochrome and low contrast images and chose two bright colours that go well with white.

Letterscape.xyz

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Projects that inspire my zine

All is sad : an interesting way of displaying a typeface that sets the mood for the font.

Gros-tesk : usage of photos, much similar to mine, low quality paper and mono-colour.

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Laser cut minuscule in three materials: card, plywood covered with a mirrored film and polypropylene. 

I am using the card alphabet for testing the arrangements of letters for the exhibition. In terms of material I decided on polypropylene and order A LOT of this material in translucent white.

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Laser engraving - fluorescent acrylic

An engraved logo of the Letterscape project that I plan to exhibit in June.

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Material test - laser cutting

My metallic card proved to be uncuttable by the laser. It was almost hilarious, the people in Fabrication were very surprised.

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Even more written resources

http://publiclettering.typographystudies.com/

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Erik Brandt, 2018. Details from Ficciones Typografika Intermezzo El Último.

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Info on author’s site

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North street study - local vs corporate (put in two categories)

Buy THIS

Read 

Street level from the 60′s

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THIS

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I went to rephotograph the signage in M Shed and was lucky enough to witness a Bristolian donating a “no smoking” sign from 1904 to the archives.

Here he is, handing it over to M Shed’d curator. 

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Researching font presentation

I have bought a domain letterscape.xyz to make a simple website for my project and a download source and I am now working on its design, as well as presentation and logo of the typeface. Monotype’s myfont is providing some insight in how it can be done.

Sketches:

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Letterscape font is completed!

After many print outs, optical corrects and working on kerning, my font is ready to be distributed!

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The Zine / Printed font sample

Identifying needs, problems and content

Informing about the process, inspiration and the purpose of creating the font.

Informing about the qualities of the font: samples, possible use.

Advertising the font.

Download options.

Showcasing my editorial design skills.

Adding an artistic quality to font design and its usage.

Self-promotion: links to my portfolio and contact info.

Content: Font samples - quotes about urban environments and its typography. Photos - photos I have taken during the course of this project and archival material (similar approach as in the previous zine).

This means that it should have three sections: 

Process & Inspiration Zine & Free expression (serving as alternative method of showcasing samples) Contact & Info

The font should be shown against white page, but also combined with images. I need a lot of copies to give them away, so it needs to be cheap (so black and white, maybe I can print one colour spread in the middle and add some coloured paper stock).

Font Presentation practices

Playtype concept store is a wonderful, physical display of an online foundry.

Barnbrook’s Virus fonts are presented through sentences that match their concept and name, for example Patriot

Most foundries display a table with a full character set

Dalton Maag makes nice graphic about how the font might be used, like Lexia Mono. They also choose a colour palette for each font. Sometimes they show an infographic describing the font’s properties like in USA Today

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Updated ideas on how to present my work.

My priority is to exhibit the letters in spacial forms, in the middle of the room. I can arrange something on a wall (like the A4 with duotone photos of signage forming a skyline and letters on top of it), but if there won’t be enough space, I can easily give up my share and just go with some type attached to the floor. Orla had pointed out that if it will be on a stand, it might become a bit “untouchable” or alienating and I know what she means. At the same time I am somehow tempted to put it on the eye level and maybe arrange it in rows, so there will be an added, layered effect when watching from a certain angle. I think it would bring out what I like about acrylic the most.

After yesterday’s session another possibility has arisen, which is hanging the acrylic cut-outs. However, to do that I have to ask around fabrication to figure out all the possibilities and health & safety requirements.

A few people also mentioned that my font could be used when making signage for the exhibition. This is the option I would most glad about. What better way of exhibiting work made inspired by and for signage in space than to make signage out of it and really use it?