Some more screenshots taken during the elaboration process of Urbino italic typeface.
Definitely a typeface with a long story for me. After several adoptions for sub pixel rendering I newly had to make some redesigns for a retina display version without sub pixel rendering (lately problematic in iOS8).
After the time and many corrections with what Frederic Goudy once called the fresh eye effect it became slightly more classic gothic more in the direction of a Chanel like typeface. This was caused by making design automatically bolder and lighter a few times doing the needed corrections by hand.
As since I had started over the time many letters have undergone improvements that I wouldn’t want to get lost during the re-process.
This is my first attempt at a typeface which isn't based on a grid or systems based approach. I'm very much a beginner at typeface design but looking to improve as quickly as possible so please criticise as much as you feel like.
The typeface is tentatively named Solzhenitsyn after the book with the lettering that it is based off. The lettering in question should be below.
I loved the caps on the title and wanted to try to create a full alphabet from this. My first very rough drafts are below and a pdf is attached for a closer look.
A quick all caps print test.
I’m currently researching into how meaning has been embodied into typeface designs. I’m looking for typefaces which have an extensive and purposeful meaning behind their designs. Sufficient enough to write a thousand words about.
I need six case studies in total, so far I have Times New Roman, Capitolium, Johnston and Quantange. All of which I believe have enough existing research and theories into why and how they have been designed in the way they were. Ideally I need two more.
I posted a brief similar question to this many months back during my initial research phase. I was sent in the direction of Nick Shinn and Jeremy Tankard’s work, and FUSE, and they all really helped a lot.
I stumbled upon the Typeface Design Characteristic "Repeated vs. no Repeated Elements" which is supposed to influence font-weight. Can somebody please explain this design characteristic as well as why it influences weight? It would be great to have other examples to look at.
Attached is an image of one example of the design characteristic.
This spring Type@Cooper's public workshops offerings have some new classes in Cooper Union's Letterpress studio.
Beginning February 3rd, Nick Sherman will teach a 5 week evening course
Students will look at historical examples, analyse forms, design a some letters, and print their designs from laser cut wood type on a Vandercook press. If you love type, color and printing this will be very fun.
Beginning March 17th, Sumner Stone will teach a 5 week evening course
I'm currently considering embarking on a typeface design project (just for fun). I could do with some advice:
1. Could any books be recommended that detail how to draw type?
2. What tools would I need to initially hand draw type? Is a pica ruler useful and would I need a set-square/protractor/compass etc.? I would really love to know of any tools that would be particularity useful for hand drawing/designing a typeface. My eventual aim would be to digitise it should it go well, but for now I'd love some advice on books and tools.
With thanks in advance.
Applications are now being accepted for Type@Cooper Condensed. This program is an integrated intensive 5 week program with Sumner Stone, Sara Soskolne and Andy Clymer. The program runs from June 20 thru July 21 and is held at Cooper Union's campus in the East Village, Manhattan. The program will include lettering, typeface design, font production. Very special guests will come to teach workshops, lecture, and give critique including Ken Barber of House Industries. Application deadline for summer 2011 is February 28th. No more than 15 students will be chosen to attend. More information about the Condensed Program at http://coopertype.org/condensed/
There are a few places available for the workshops being offered at Cooper Union this spring. These courses are electives within the Type@Cooper program but some places are available to non-participants. For more information visit http://coopertype.org/extended/
Planting Seeds for Script Type Designs
Saturday, March 12 & Sunday, March 13
Saturday, March 19 & Sunday, March 20
Basic Python Programming for Typeface Design
Saturday, April 9 & Sunday, April 10
Type@Cooper and the Herb Lubalin Study Center have joined together in conjunction with the TDC to offer a public lecture series.
The lecture series is still closely tied to the curriculum of the typeface design program. These lectures are free and open to the public. Here are the next two lectures being offered. For more information about the program visit http://coopertype.org/
What You Should Never Do With Type And Why
Monday, February 7, 2011, 6:30 pm
The Rose Auditorium in the New Academic Building
41 Cooper Square at East 7th St, New York, NY
I'm designing a logo typeface for a contemporary culture magazine: Citizen Magazine.
It's a rough sketch but I've been slowly chopping away at it for a while and I just can't look at it anymore in a critical way.
For a paper I am preparing about the creative inspirations behind the birth of a typeface, I would like to know the various reasons for their birth according to each one of you who have designed a typeface.
Why do you design a typeface?
What makes you want to design a typeface?
What is the germ of inspiration?
Which are the points of departure?
What stages does typeface undergo from the initial concept to the final design?
I would be grateful if I can draw upon your wealth of experience to arrive at a few generalisations. Any link, image, quote, paper, publication related to this theme would be a valuable input and would be credited.
Thanks in advance.
I am a designer, and over the past 2 years I have created several typefaces (Latin 9). I have done this at my salaried job. I also do freelance design and have recently been asked to give someone a quote for a Latin 9 San-serif character set. Does anyone out there have a general pricing guide they use for freelance type design?
Details of the 2010 annual intensive short course in typeface design, to take place at Reading this summer, are now available on http://www.typefacedesign.org/tdi/TDi2010_A4.pdf . Five very full days, crammed with seminars, feedback on practical work, examination of rare material, and hands-on sessions.
Get in touch for more information.
Some other pictures from Frammenti della Bellezza by Stefan Seifert