As painstaking this project was, it forced me to look back on the semester and notice my growth. Even just seeing how I saved files from the first project, I can tell that I’ve gained a lot of experience. This book also made me think about how I would present myself as a designer. This book is to highlight what I’ve learned and also to show off my work for the year so I got to design a book that would do this in a way that represents my design work. I like to work simply so I chose to work off of a grid and use black boxes to highlight certain parts. The font exercize that we did before beginning this project helped me to understand which fonts worked best in a book style format. I chose a sans-serif font, Gil Sans MT, for the header and an Old Style font, Garamond, for the body text. I like sans-serif fonts best for headers because they are bold and draw the attention quickly; it also fit in well with my gridded box motif. I chose the Old Style font because it is more legible and takes up the boxy space in a light way. I also wanted the reader to easily navigate the book and the size and leading of the type,as well as the black boxes, helps to do this.
Greg Coulton does these really complex drawings that involve typefaces he has designed. I like that he uses simple typefaces to highlight the complexity of his designs in these examples. He has a lot of variety in his work because he also designs really complex typefaces, I’m just more drawn to the ones that are based off of minimal sans-serif fonts.
Meni is an illustrator by trade but she created this really beautiful sans-serif typeface called “Into The Woods.” It is based off of a Gills Sans Typeface. I think that’s cool to note because it shows you that designers aren’t limited to the standard set of tools they are given, you can rework those tools and create something totally your own. I don’t know when this typeface could be used but it is lovely.
Daniele Tozzi works with handwritten text and calligraphic styles. He also utilizes “calligrams” which are written text inside of a shape. I think his work is interesting because he really sees type as a shape. He also puts a lot of thought into the elements that create his letters so that they will convey the the meaning of the shape that they are forming.
Lost Type offers a lot of solidly design typefaces at a low price. They allow you to pay what you can while still getting beautiful and complete typefaces. They also have a wide variety of fonts so it would be a good website to visit simply to look to for inspiration if nothing else. Here are just a few examples:
Ten Dollar Fonts believes that everyone should have access to amazing new fonts, while the type designers who created them should be rewarded for their hard work. The platform is a carefully curated marketplace for great, affordable fonts. Here are just a few of their great, cheap fonts.
Owned by Brady Vest in Kansa City, Hammerpress Design Company is a hip letterpress company. They design a number of various things including album covers, posters, and a number of things for Urban Outfitters. They have this “cut and paste,” collage-y, sort of style that is reminiscent of old styles of design. The old style is revamped using vibrant patterns and bright color palettes that draw in their viewers. Although they are still small, they are a very inspiring group.
This guy wants to create a type book called “A-Holes” that explores the possibilities of the letter “A.” His ambition shows that there are many components of a letter. Enough so that a whole book could be created based on the holes just inside of one of them!
Ellen Lupton has created a number of “type crimes” about what shouldn’t be done in regards to typography. We set out to make a book about them. These were the definitions for the one I put in my book.
Warped Text (38)
Proportions of letters have been distorted in order to create wider or narrower letters.
Drop Shadows (65)
Applying an effect to a typeface in a way that harms the integrity of the composition and typeface.
Outer Text Stroke (54)
Putting an outline around the border of a font exploits the type face into something that it wasn’t intended to be used for.
Tracking Issues (104-108)
Loose spacing between words that is inconsistent throughout a paragraph is visually distracting.
Poor Use of Typeface (73)
Using a typeface that doesn’t communicate the ideas of a piece or is just plain tacky.
Too Many Signals (132)
Overusing underline,bold,italics in an attempt to emphasize becomes too much for the eye to focus on.
Using hyphens incorrectly or too often on the sides in an attempt to fully justify a paragraph creates a weak right edge.
Leaving a single word on the last line of a paragraph all on it’s own.
Bad Rag (113)
When a wedge creates a displeasing ragged edge.
This book helped me to realize the mistakes that are really easy to make in typography. I will forever be conscious about the way that I am typing and it’s imperfections. I will also be conscious of other’s imperfections which I probably won’t be able to ignore. So this project turned me into a type monster and although I will probably continue to commit type crimes, I will not allow others to do so. This is my completed book: Type Crimes
Here are the thumbnails of the images that I used.