So in the last post you got to enjoy the kerning work I did with my partner. In this post, you get the extreme pleasure of seeing what I can do with InDesign and kerning. It’s truly magical. I especially enjoy the cover I came up with. Every time I say “kernderful” it makes me laugh.
This is a masterpiece if you’ve ever seen one. My typography class was split into groups of two, my partner was Aaron. Anyways, we were tasked with writing a haiku about typography. I’m terrible at poetry, so we used the haiku Aaron came up with. Obviously. It goes like this:
The type before us
Often hides beautiful things
Beneath the surface
It could make your little heart cry, right? Maybe not. Either way, kudos to Aaron for coming up with a haiku.
The next part of the project was to cut out each letter of each word from black foam core using an Xacto blade. Twenty-nine letters later, my fingers were sore, but my letters looked pretty awesome. Finally, we organized all our letters and mounted them to a wall in Old Main. We chose a corner for several reasons: it looked really super duper awesome and it gave the haiku and typographic style a little “something something.” Now everyone that walks by gets to enjoy our beautiful typographic masterpiece. We set our type in Futura Medium. Below you can enjoy our work and see the process that went into mounting it.
Below is my final for the Constrained Systems project. Hopefully all you awesome admirers out there will agree with me that I’ve communicated the connotations of “magnification” and “oppressive.”
Also, check this out. Using the letters from one of my words, the assignment was to create a phrase and then design a 34×22 poster of it. I’m printing it tomorrow from the plotter at school. I’ve never used the plotter, so this will either be a disaster or super awesome. Either way, I’m super excited for it.
Constrained Systems, project 4.
The objective was to create a typographic system for two words, “magnification” and “oppressive.” This system was to communicate the connotations of each word and designed using only circles or squares. Below is my process work for this assignment, including the connotations I was trying to communicate.
I know, I know. You saw my final piece for the Fictional Letterforms project in the last post, but it was at the bottom. And the post was long, so maybe you got bored. I just want you to give it the attention that it deserves. So this is the newest member of the alphabet, “skuh.” It was developed using the humanist typeface Adobe Garamond Pro, a real beauty.
Initially there was no descender, the bottom of the tail was on the baseline with the “v”-shaped portion. It simply looked too cramped, so I drug the tail down to the descender line, and everything got better. Also, I had to fight to not lose the slender portion of the bottom of the bowl, I didn’t want this letter to be a fatty in an otherwise lean typeface.
Feedback during the critique was this:
- set width is a little wide: I agree with this. Perhaps it would look better positioned between the “V” and “W.” However, it wouldn’t always be in that position, so a little more consideration of that aspect would have helped out my letterform
- the crotch: the valley in the “v” portion of “skuh” is round. Where the bowl and tail meet, and where the bowl and the stem meet, there is a sharper valley. these certainly would have benefited from a softer angle
- does it look like several letters smashed together? does it? I mean, technically it is, I grabbed parts of several letters and created something new. Is it too obvious though? overall I’m happy with “skuh,” but it’s possible that the bowl is too much of an “O.” if I’d taken more time with it, it’s probable that the bowl would have developed into something much more unique.
Definitions for Project 2, Font Mannerisms.
Postscript programming language; outline font technology
Open Type font format which allows multiple style and character variations to be contained in a single file (Lupton, p. 80)
Typeface design of the letterform; the visual design
Font: a set of characters. in digital type, the font is the character set itself or the digital information encoding it (Bringhurst, p. 233).
Glyph a specific expression of a given character
Connotation an emotional association; fonts are chosen to communicate a certain emotion or trigger a response
Denotation a dictionary definition; fonts are chosen to communicate the literal meaning of a word
Modern Type abstract, less organic; characterized by thin, straight serifs, a vertical axis, and sharp contrast between thick and thin strokes (Lupton, p. 46)
Transitional Type abstract, less organic; sharper serifs and a more vertical axis; high contrast
Humanist Type letterforms are closely connected to calligraphy and the movement of the hand (Lupton, p. 46).
Slab Serif: an abrupt or adnate serif of the same thickness as the main stroke… hallmark of the so-called egyptian and clarendon types (Bringhurst, p. 238)
Sans Serif: without serifs