Skip to content

Wayne State University

Aim Higher

Apr 3 / Aaron Kozlowski

Project 5 Process Work

20140401_093259 20140401_093305 20140401_093310 20140401_093314 20140401_094558 20140401_094601 20140401_094604 20140401_094610 20140401_095657 20140401_095700 20140401_100319 20140401_100322

Apr 3 / Aaron Kozlowski

Project 5 – Kerned Interventions

Part 1
Screen Shot 2014-04-03 at 4.53.55 AM Screen Shot 2014-04-03 at 4.54.09 AM Screen Shot 2014-04-03 at 4.54.32 AM Screen Shot 2014-04-03 at 4.55.03 AM Screen Shot 2014-04-03 at 4.55.19 AM

Part 2

20140401_101726 20140401_101847

Mar 24 / Aaron Kozlowski

Project 4 Process Work

Screen Shot 2014-04-03 at 4.33.22 AM Screen Shot 2014-04-03 at 4.33.38 AM Screen Shot 2014-04-03 at 4.34.15 AM Screen Shot 2014-04-03 at 4.34.30 AM

Mar 24 / Aaron Kozlowski

Project 4 – Modular Typefaces

Screen Shot 2014-04-03 at 4.22.59 AM Screen Shot 2014-04-03 at 4.23.09 AMScreen Shot 2014-04-03 at 4.37.12 AM

Mar 15 / Aaron Kozlowski

Type Crimes

38 41 42 52 54 58 104 112 113 120 127 132 204 211

1. Horizontal/Vertical Scaling

2. Font Works at Large Scale but not Small Scale

3. Minimal Size Contrast/No Emphasis

4. Uneven Leading Between Rows of Capital and Lowercase Letters Because of Descenders

5. Pseudo Small Caps

6. Single Family Mixes With Similar Weights

7. Multiple Family Mixes With No Counterpoint

8. Quotation Marks Creating Space/Not Hanging

9. Tightly Tracked Text

10. Poorly Shaped Text Block

11. Holes in Text Block

12. Ragged Right Edge

13. Ragged Left Edge

14. Stacked Lowercase

15. Too Many Signals/Indents and Spaces Between Paragraphs

16. Too Many Signals/Too Many Changes in Style

17. Big Rules and Boxes in Data Tables

18. Two Hyphens in Place of Em Dash

19. Hyphen Between Numbers

20. En Dash in Hyphenated Word

21. Prime Marks Instead of Quotes

22. Two Spaces After Sentences

 

Feb 28 / Aaron Kozlowski

Project 3 Reflections

Project 3 focused on developing a fictional letterform. However, the catch was that it must be designed to fit within a certain type family of our choosing. In my case, I chose modern fonts, focusing on integrating my letter into the typeface Didot. Being a modernist font, it has high contrast in stroke length, which I highly enjoy. I began by sketching letters from the typeface by hand with a 2H pencil, and then began to sketch out some thumbnails to get the ideas flowing. Moving into the digital realm, I found it very helpful to create a font family showing of Didot. After doing so, I began to investigate portions of characters that I liked, cutting off chunks and placing them together like some sort of mad typographical scientist. I liked the idea of placing a bowl in the descender, as there is no other letter in the Latin alphabet that features that characteristic. From here I began to investigate a character that resembled a music note (a basic quarter note, to be specific). I came up with two variations — one with a shoulder and one without. There was one area that gave me trouble, however. I had a hard time getting a smooth transition from the stem of the descender into the bowl of the descender. Eventually, this was resolved, and all that was left to do was to name the letter. I dubbed it “Ray”, pronounced “ra”. The critique yielded positive results, as my form was well-received.

In all, this project helped open my eyes to a number of things. First of these things was developing a keen eye when examining the micro-details of individual characters in a typeface. Each font has such small differences that make them completely unique from one another. Beyond this, though, it made me realize how difficult it is to create a new letter in an alphabet that we see and know so completely for our entire lives, and to make it seem convincing and not out of place. The letter cannot be examined by itself but must be seen holistically with the entirety of the alphabet in order to decide if the letterform could actually be a possible addition to it.

Feb 26 / Aaron Kozlowski

Project 3 Process Work

Screen Shot 2014-04-03 at 3.09.04 AM Screen Shot 2014-04-03 at 3.28.43 AM Screen Shot 2014-04-03 at 3.28.52 AM Screen Shot 2014-04-03 at 3.29.20 AM

Feb 26 / Aaron Kozlowski

Project 3 – Fictional Letterform

Screen Shot 2014-04-03 at 2.21.59 AM Screen Shot 2014-04-03 at 2.22.52 AM Screen Shot 2014-04-03 at 2.23.04 AM Screen Shot 2014-04-03 at 2.23.18 AM Screen Shot 2014-04-03 at 2.23.29 AM

Feb 13 / Aaron Kozlowski

Extended Reading – Typographic Systems by Kimberly Elam

Types of composition in typography:

Axial – elements are aligned on either side of an axis

Radial – compositional elements radiate from a focal point as rays

Dilatational – elements expand or dilate from a central point in circular arrangements

Random – no system

Grid- vertical and horizontal divisions

Modular – elements are placed by standardized non-objective units

Transitional – elements are layered in a system of shifted bands

Bilateral – single centered axis that bisects elements symmetrically

Feb 13 / Aaron Kozlowski

Project 2 – Font Mannerisms

Screen Shot 2014-02-13 at 2.32.49 AM Screen Shot 2014-02-13 at 2.35.02 AM Screen Shot 2014-02-13 at 2.35.15 AM Screen Shot 2014-02-13 at 2.35.37 AM Screen Shot 2014-02-13 at 2.35.57 AM Screen Shot 2014-02-13 at 2.36.52 AM Screen Shot 2014-02-13 at 2.37.13 AM Screen Shot 2014-02-13 at 2.37.34 AM Screen Shot 2014-02-13 at 2.37.49 AM Screen Shot 2014-02-13 at 2.38.06 AM Screen Shot 2014-02-13 at 2.38.18 AM Screen Shot 2014-02-13 at 2.38.37 AM Screen Shot 2014-02-13 at 2.38.48 AM Screen Shot 2014-02-13 at 2.39.03 AM Screen Shot 2014-02-13 at 2.39.14 AM