p2:4

SAILOR




I finally nailed it down. If you'll notice between my last post and now, I've made FontStruct bend to my will. I really want my dear reader to understand the severe anguish this program has put me through. Really almost to the
point of questioning my enrollment in any method of formal education. Still, I emerged the victor (I think). I heavily modified the M, Z (which was backwards, that's embarrassing), N, and W. I also added figures to the family.

BONUS JONAS: Gotham


Gotham is a font created in 2000 by Tobias Frere-Jones. It became more widely notable when it was adopted for Obama's campaign. In addition, the University Daily Kansan uses Gotham as its' headline font, which may make my decision biased. 

p2:3

Sailor


Tattoo font is a heavy inspiration as well as old Western aesthetic. My keywords are gritty, tough, and polished. I dig the tough-guy vibe each of these inspiration fonts gives off. It's the more challenging of my two fonts, but the aesthetic feels more original and it appeals to me more than my second one...

Mr. Roboto




Mr. Roboto is influenced by cartoonish far-future aesthetics, such as the Jetsons. What might type look like on all of our mechanical robotic screens? I think it would look like Mr. Roboto. My key words for this one are definitely futuristic, square, and quirky. 




p2: 2


Digital
My first typeface is a foray into digital replica. It is heavily inspired by vintage video games, 8-bit arcade style, and minimalistic retro digital typefaces before beautiful design was standard among home computers. Keywords: digital, analog, 8-bit, square

Futuristic
My next typeface was inspired by futuristic-looking type. My Life as a Teenage Robot kind of embodies the aesthetic I was going for. It's futuristic but heavily stylized to the point where it could also be used to portray a retro vibe. Keywords: curved, narrow, futuristic


Calligraphic
My next attempt was inspired by the New York Times font, with varying stroke widths mimicking calligraphy. Calligraphy is characterized by it's alternating of thick and thin strokes. One method of calligraphy is making thick downward strokes and thin upward strokes. There are no hand strokes in typeface creation so I tried to mimic it with the stupid thick bricks in fontstruct and it did not really come across at this point in my remedial understanding of this program. 
Keywords: calligraphic, angular, bold

 Tattoo
Tattoo font is very interesting to me as it has elements of handwriting yet it still has a unified style over the hundreds of thousands of artists who have used lettering in their tattoos. I tried to mimic the traditional Sailor Jerry tattoo typeface but in a more polished manner.
Keywords: Tattoo, caligraphic, hand-drawn, serif
Hazard
This font was my "fun" font, where I tried to make an unconventional method come across as legible. Not super successful. With some refinement I believe I could improve upon it but the program makes it difficult and demands a high level of detail to create a legible font. Regardless, it was inspired by caution tape. It shows how negative space can create a legible letter form just like positive space can.
Keywords: negative space, caution, bold





P2: 1

Garamond - Claude Garamond

Garamond is one of the oldest typefaces in the world. It is a highly legible serif font which gives connotations of seriousness and honesty. It was developed for printing presses and even today is still used for body copy and high legibility.

Serifa - Adrian Frutiger


Serifa is a slab style serif font. It is more whimsical than its predecessor Garamond, despite sharing the serif family. It much less austere, and it is a less serious serif font. It resembles a typewriter rather than a printing press.

Platelet - Conor Mangat 


Platelet is a sans-serif font but does not have the typical angular look of a sans-serif. It has a funky vibe, especially evidenced by the alternating heights of the numbers. The letters are ambiguous as to whether or not they are upper or lower case. This font is the least structured of them all and more useful in a headline font but not a body copy font.

P1: 2

(KIDWELL: I don't know why this page is so far up here and not where it belongs in order)

Project 1: Phase 2
Phase 1 introduced us to the grid. The assignment was to cut out various samples of "Jan Tschichold / A Life in Typography / 1902-1974 / Ruari McLean" in Univers of different weights, sizes, and variations of all caps. The guiding rule was to only align text to the upper left corner of boxes.
I felt like the manual method was a good way to understand the principles of the grid but it also felt limiting and cumbersome.
Here are some examples of my first phase.






P1: 4

Summary and Results: Phase 2

Phase 2 integrated size as a new element that could be modified. This allowed for exaggerated, very obvious hierarchy to be established through size. I used size mostly to emphasize Tschichold's name because it is the most important word on the page, and his years alive because they provide a graphic element to the text. I faced challenges such as having so many variables but in the end I was able to create layouts a little easier when I had more freedom, and I felt secure making these decisions because of the limitations creating principles up to this point.
Designers

Paul Rand
Paul Rand was a graphic designer responsible for the logos of IBM, Westinghouse, Enron, UPS, and many others. He was a critical link between business and design, convincing modern business that their visual brand was important to success. He utilized Swiss design style to create his minimal logos. After he established himself in the 1950s and 60s with his logos, he also ventured into page design which showcased his minimalism's effectiveness. He claimed that logos could not stand the test of time if they were not simple and therefore easy to recognize and remember.


Massimo Vignelli
Massimo Vignelli was a jack of all trades when it comes to design. He was once quoted saying "if you can design one thing, you can design anything," and he proves this through his work. He did environmental, interior, package, and graphic design. His most famous work was the map and wayfinding system of the New York subway system. His use of Helvetica is indicative of his affinity for simple typeface. He is heavily representative of New York, notable also for his work at Bloomingdales and their infamous "brown bag." 


Robert Massin
Robert Massin was a French graphic designer who specialized in bold, expressive typography. He participated in many literary ventures, illustrating stories through his unique type style. He utilized placement of text to express meaning or lack thereof, creating chaos or order depending on how he aligned the copy.


April Greiman
April Greiman began her studies at Kansas City Art Institute (!!) and continued in schools of Swiss design. She is notable for being one of the first designers to utilize Mac computers to design. Her style is wild and erratic yet shows understanding of symmetry, color theory, and hierarchy. She primarily worked in print design such as magazines.



Stefan Sagmeister
Stefan Sagmeister and his partner Jessica Walsh create type-based images for commercial and artistic use. He produces a lot of work for the music industry for artists such as Lou Reed and OkGo. He has a series of art works where he draws illusionary type on the 3D surface of people's faces that looks 2D from straight-on. His work is renowned in the music industry, and he has won a Grammy for his package design.


Jessica Hirsche
Jessica Hirsche is a young graphic designer who is famous for her whimsical and intricate style of hand-lettered style typography. She utilizes decorative serif fonts, some of which she created herself. This decorative style is very different than the utilitarian artists in this post, but it shows that hierarchy can still exist even when typeface does not adhere to every rule of the grid.





P1:3

Phase 1 of Digital Renditions

The first digital phase involved creating 15 more compositions using 
"Jan Tschichold 
A life in Typography 
1902 – 1974 
Ruari McLean"

The restrictions were as follows:Size: 6 x 9 inches
Grid: 
5 column. All type must lock-up into the upper left corner
Font: Univers 45 light and Univers 75 bold 
Size: 9pt and 16pt 
Text: must remain horizontal, no vertical text, no shapes



This was similar to the cut and paste version we did manually, but added the option of using color. Color was an interesting way to integrate possible relationships between aspects of the text, such as Tschichold's name and his years alive. 



Adrian Frutiger

Adrian Frutiger was an influential designer who is known most widely for his sans-serif typefaces. There are three genres of sans serif type faces: neo-grotesque, humanist and geometric. His most famous fonts were UniversFrutiger and Avenir, which each belong to these categories, respectively. Univers is the font used in this project and it seems fitting that we learn about Frutiger's legacy. His simple typeface has dozens of different weights from light to heavy which give unlimited options to the designer to create hierarchy. 
Frutiger was a proponent of Swiss design style. His simple sans-serif typefaces lend themselves to utilitarian, clean, minimalist compositions. Such aesthetic led to one element of Frutiger's legacy, producing uniform, legible signs in mass. For instance, Univers is the font on the street signs of London and the signs within the Frankfurt airport. Frutiger won dozens of awards for his work, and its versatility allows it to remain in use today.