NYU Design 1 Winter 2016

Introduction to Design 1 class blog.

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Ingeborg was designed by Michael Hochleiter in 2009 to create a modern readable typeface. It maintains characteristics of the classic Didone typeface, including vertical stress and high stroke contrast. The display face is bold and distinct, complementing the functional text weights. Lexicon was designed by Bram de Does between 1989 and 1992 to for use in the Van Dale dictionary. The designer of the dictionary wanted to use another of de Does' typefaces, Trinite, but de Does opted to create an entirely new typeface that would be legible at 7pt. The original version has very short extenders, making it good for use at very small sizes like its original application in a dictionary. Akkurat is a sans-serif font released in 2004 by Swiss designer Laurenz Brunner. He created it as an antithesis to the illustrative fonts that were dominating design, originally intending it only for his personal use as a utilitarian typeface. It is effective for use in modernist design, where simplicity and readability is essential. Doko was inspired by the hand-drawn letters of cartoons, but was adapted for use in magazines. It has thin lines and low stroke contrast that makes it easily readable, but maintains some of the character of hand-drawn letters. It was designed by Ondrej Job while he was a masters student at KABK The Hague. Melior was designed by Hermann Zapf in 1952 for use in newspapers and other applications, like business reports, where legibility is most important. It has strong square serifs and condensed proportions that make it elegant but straightforward. Cronos was designed by Robert Slimbach for Adobe. It is a sans serif design that pulls inspiration from calligraphy, giving it a more handwritten and elegant feel than most sans serif typefaces. It is good for text and has a particularly good italic face based off of early chancery style. Avenir is a typeface based on geometric sans serif fonts, but altered from pure geometric forms to make it more natural to read. It was designed by Adrian Frutier in 1988. It is good for large blocks of text and digital use because of its simplicity and readability. Tumblr has refused to post my photos. Sorry! Amy

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Doko was inspired by the hand-drawn letters of cartoons, but was adapted for use in magazines. It has thin lines and low stroke contrast that makes it easily readable, but maintains some of the character of hand-drawn letters. It was designed by Ondrej Job while he was a masters student at KABK The Hague. Times New Roman was designed in 1929 by Stanley Morison for the British newspaper The Times. It is fairly narrow and can feel cramped, especially in its bold form. It is a so-called workhouse font because of its legibility and simplicity, and became popular with printers because of its appearance in a daily newspaper. Its popularity rose because of its utility as a readable, condensed font, but arguably its popularity was also its downfall - because it is such a widely used "default" font, its use in design is underwhelming and screams apathy. Amy

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Skolar, designed in 2008, was conceived as with scholarly and academic publications in mind. The typeface’s strong serifs and relatively low contrast along with it’s high x-height give each letter a weighty feel.

-Javier

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Designed by Christian Schwartz and Dino Sanchez around the turn of the century, Luxury Diamond was designed to give off the air of luxury through type. The high contrast and angular serifs give the typeface a regal and expensive look, used by jewelry companies and clothing brands nationwide.

-Javier 

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Developed by Eric Olsen in 2004, Kalvika is a sans-serif font known for it’s straight and technical strokes. Kalvika is used by numerous news and television services such as ESPN, CBS and NBC. The Facebook logo is designed based on Kalvika bold.

-Javier

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Neutraface Slab was designed by Christian Schwartz for House Industries. It was released in 2009 and was originally conceived of as a joke. It’s a variation of Neutraface, a slab serif typeface designed by Schwartz in 2002

-Javier

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Plantin was first cut in 1913 by Fritz Stelzer for the Monotype Corporation and based on a 16th century typeface designed by Robert Granjon. It is an old style serif with wider strokes than the other typefaces at the time. The typeface also inspired the design of Times New Roman. It was used as the font for ABC News in the 80s and 90s.

- Aryn

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Neue Swift was designed in 2009 by Gerard Unger. It is a revamp of the original Swift which was designed in 1985 and used in a variety of text-heavy publications and corporate identities. The large counters and serifs were designed for legibility. Today the font is used less in newspapers than in the 1980s.

- Aryn

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Homework

For Thursday:

Bring six mock-ups of your wireframes for a wall-based critique. 

Here’s a checklist for the final project:

A logo or wordmark for your app. 1024 x 768 pixels. Icon for your apps, one at 180 x 180 pixels and one at 1024 x 1024 pixels (ios), or one at 192 x 192 pixels (android). Six high-definition wireframes at 750 x 1334 pixels (iphone 6) or 1440 x 2560 pixels (android nexus 6) At least one wireframe must include a paragraph of type. At least one wireframe must include a list. Your own typeface (if needed)

No typeface reports tonight.

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Wireframes

This is what wireframes look like.

This is an Illustrator wireframe template for responsive design.

This is a tutorial for making wireframes for webpages in Illustrator in Lynda. (Parts 5 and 6) 

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Mrs. Eaves and Auto

posted by Olivia Murphy

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Filosofia was designed in 1996 by Zuzana Licko. It is a serif font with low stroke contrast and ball terminals. The consistency in stroke allows for the typeface’s use in smaller font sizes. The typeface was used on a collection of typography coasters sold on Etsy.

- Aryn

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Le Monde Journal was designed in 1994 by Jean François Porchez for the french newspaper, Le Monde. It is a serif font with larger counters than Times. It is best-used in journals and text-heavy publications. It is no longer used by Le Monde.

- Aryn

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Ingeborg was designed in 2009 by Michael Hochleitner in hopes of creating a readable, modern typeface inspired by classic types. For example, Ingeborg has vertical stress and high contrast much like Didone. However, some Ingeborg fonts are very bold and meant to attract attention rather than be used for body text.

- Julia

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Christian Schwartz designed Farnham in 2004 after being inspired by the work of Johannes Fleischman, a German punchcutter from the 1700s. He took the basic structure and character of Fleischman’s types and got rid of any outdated features, such as extra spikes on some letters. This makes Farnham traditional but with a simplified and sharpened look to it perfect for use in magazines and newspapers.

- Julia

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Lexicon was designed between 1989 and 1992 by Dutch designer Bram de Does. The serif typeface has a large x-height and relatively low extenders. The type’s small capital letters add to it’s compact and neat nature, making Lexicon a solid (but expensive) choice for Dutch Bibles, newspapers and dictionaries.

-Javier

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Filosofia was designed by Zuzana Licko in 1996 as her spin on Bodoni. Bodoni was one of her favorite typefaces but she found it difficult to read in smaller fonts due to the typeface’s extremely high contrast. So Licko set out to make a more uniform version with less contrast and rounded serifs. To which she succeeded.

-Javier