C L A S S || T W E N T Y - E I G H T

Individual feedback / small group critiques for specimens

For individual feedback:
Matt
John
Chase
Sarah
Jenny
Shelby
Eric
Jason

N.B. Thursday the 30th is our last class, we will have a final large-group critique looking at both specimens and proofs. Please bring full-color, full-scale proofs of your specimens & character set proofs showing your full character set. You can use the final round proof for this if you like.

C L A S S || T W E N T Y - S I X

Group critiques on the specimens / critiquing trios.

Critiquing trio groups
These are based on your individual typefaces and stages in the process, in order that you get feedback from people with different strengths and different kinds of typefaces than yours. 

John, Morgan, Eric
Jenny, Bethany, Rachel
Shelby, Matt, Katie 
Micah, Sam, Sarah
Jason, Chase, Ann

Homework:
For Thursday, progress on your printed proofs of both your specimens and progress on your typefaces. I will do individual feedback with the first 8 people to shout, next Tuesday the other half, for both days, the rest of the class should do group crits on the specimen. This is layout design and typography, you should have this in hand without much help, and I'll keep my focus on your typefaces. 

N.B. Thursday the 30th being our last class, we will have a final large-group critique looking at both specimens and proofs. Please bring full-color, full-scale proofs of your specimens. 

Supplementary Reading since we're at that point in the semester: TFJ on Naming a Typeface

 

C L A S S || T W E N T Y - F I V E

Individual feedback for Ann, Bethany, Eric, Jason, Katie, Matt, Morgan, Sam. Group critiques / progress on specimen or typeface.

Homework: 
Update your proof to include all-caps settings
Rough layouts, sketches and inspiration for your specimens, to discuss in small groups

Heads Up / Next Class:
We will split the class and for the first half do group critiques on the specimens (as a breather to allow all of you to complete the feedback so far on your typefaces and to get these off the ground in earnest) and for the second half I am assigning you critiquing trios. These trios (below) are based on your individual typefaces and stages in the process, in order that you get feedback from different people with different strengths and different kinds of typefaces than yours. 

John, Morgan, Eric
Jenny, Bethany, Rachel
Shelby, Matt, Katie 
Micah, SamSarah
Jason, Chase, Ann

C L A S S || T W E N T Y - F O U R

...which means... there are 6 of our 30 sessions left... which means... 3 weeks to go! (not including Finals week)

Today, I'll introduction the Specimen brief, and bearing in mind the key points from this, you the majority of the class will meet in small groups or as a full-class to critique of early stages of specimen pieces & lockups. I will aim to give individual feedback to Katie, Jenny, Shelby, Rachel, John, Chase, Micah. The rest of the group should prepare to chat next class.

Since we have a finite amount of time, let's use this wisely: be realistic in your plans for your specimen, and let's set a size and format for the group specimen, and perhaps designate a couple of people to work on it for extra credit: any takers? (you can respond in comments below!)

Homework:
For each class between now and end of semester, please continue to work on progressing and refining your typeface, bringing printed proofs for each class showing any progress and seeking feedback from either me or your classmates. For Thursday specifically, please bring rough layouts for your specimen. If you prefer to work conceptually for another class and sketch layouts to show, this is fine too but for next week please aim to have some digitized layouts for your specimen for a full class critique.

C L A S S || T W E N T Y - T H R E E

Individual feedback for Sam, Sarah, Bethany, Morgan, Matt, Jason, Shelby and Eric and everyone else in small group critiques as below.

Small groups should focus on:

Proofs: 
Do they show a range of scale?
Is it easy to assess spacing?
Do the proofs show all the glyphs in the font? (incl. alternates?)
Do they put the type in context? 
How is the type reacting to it's intended purpose?
Should the intended purpose update in light of how the text is performing?
What should this purpose be? What would be the best way to update the proof for this context: what should be included?

Forms / Spacing:
Is there harmony in the forms? Are the consistencies carefully maintained, and do the idiosyncrasies feel deliberate or accidental? How can these be improved?
Does the spacing feel consistent? If not, can you identify the culprit?
Can you identify candidates for kerning? (ie. where the spacing is good overall, but particular pairs feel loose/tight, and their spacing should not be changed as this will be cause issues, so kerning is the best solution)
How would you go about testing the kerning?

Homework:
Continued progress on your typeface, if you are happy with your character set so far, digitize your numerals, and extend your punctuation according to what you see as necessary for your specimen. For next class bring your in-context proofs, type layouts and lock-ups as they might appear in your specimen. Next week we will be focusing more on your specimens, as well as doing some basic kerning. 

C L A S S || T W E N T Y - T W O

Short, full-class critique of ampersands: discussion of learning outcomes and feedback followed by split-class individual feedback for Katie, Jenny, Shelby, Rachel, John, Chase, Ann and everyone else in small group critiques.

Small groups should focus on:

Proofs: 
Do they show a range of scale?
Is it easy to assess spacing?
Do the proofs show all the glyphs in the font? (incl. alternates?)
Do they put the type in context? 
How is the type reacting to it's intended purpose?
Should the intended purpose update in light of how the text is performing?
What should this purpose be? What would be the best way to update the proof for this context: what should be included?

Forms / Spacing:
Is there harmony in the forms? Are the consistencies carefully maintained, and do the idiosyncrasies feel deliberate or accidental? How can these be improved?
Does the spacing feel consistent? If not, can you identify the culprit?
Can you identify candidates for kerning? (ie. where the spacing is good overall, but particular pairs feel loose/tight, and their spacing should not be changed as this will be cause issues, so kerning is the best solution)
How would you go about testing the kerning?

Homework:
Continued progress on your typeface and in-context proofs (incorporating more and more treatments for your specimen)
Read Forms of the Letters from Walter Tracy's Letters of Credit & Numerals from the same.
 

C L A S S || T W E N T Y - O N E

Ampersand Exercise! Group critique/discussion of research for specimen.

Homework:

  1. Finish ampersand exercise, submit by start of class Tuesday 7th (1 week)
  2. Continue refinements to alphabet based on feedback
  3. Adapt proof from Round 07 to include samples of text for your specimen, in context trials etc. and bring printed proofs for next class.

N.B. Visiting lecturer Thursday 2nd April
Please make sure to arrive on time next class and be prepared to ask questions and have a chat with our visiting lecturer via Skype: Erin McLaughlin, formerly of H&FJ, 2011 SoTA Award Winner, freelance type designer and non-latin expert for Adobe, Google, et al. She will be talking us through some of her work and take on working as a freelance typeface designer.
 

C L A S S || T W E N T Y

Class cancelled. Submit status of typeface so far by 12 midnight.

Homework:

  1. Submit interim Glyphs, OTF files, with pdf proofs to Google Drive. (If you don't have the full set of characters that's ok, just submit what you have so I can mark it up and give you comments before Spring Break)
  2. Continue researching for your specimen: Contexts, visual research, sketches. 

Have a great Spring Break!! =)

C L A S S || N I N E T E E N

Small group critiques.

Homework:
Move to Round 07 proof! (You made it to the full 26 letters!) Submit this proof & OTF & glyphs file to Google Drive by midnight Thursday 19th.

Research for your specimen project:

  1. collect examples of specimens you like: go past the pinterest boards! Look in the library for old specimen books. 
  2. collect texts you can use that elucidate the character of you typeface: if it's playful, maybe you choose an irreverent text, choose some key words that show off your favorite letterforms.
  3. collect inspiration for unconventional ways you can show of the letterforms. You already have a Specimen in your portfolio from Intro to Typography, so let's do something really spectacular here!
  4. Lastly: Think of ideas for a collaborative, class specimen. We will discuss this when we get back after Spring Break.

C L A S S || S I X T E E N

Small groups/Individual feedback. Watch Harry Baker, and be inspired to find your own voice and rhythm through your type.

Homework:

  1. Continue to work on refining shapes
  2. Continue to Round 04 proof
  3. On top of your regular proof, make some 'real-world' settings to test your font in context. Refer to your brief. Set different words, try at different sizes, in different colors, on different printers, with different kinds of imagery. Bring these printed trials for next class. This should preempt your specimen ideas later in the semester. Have some fun here, and remember that these proofs are for you to see if the typeface is doing what you want it to, behaving how you imagined it, and conveying the personality you are aiming for.

C L A S S || F I F T E E N

This is a 15-week class, so that means at Class 15, we're halfway there you guys!  =)

Today: small groups, looking at OTHER small groups prints / Individual feedback. 

Homework:
Read excerpt from Shady Characters on origins of punctuation. Refine extant characters, and once happy, continue to Round 03 proof. Print for next class.

Watch:
Pointed Pen Teaching Tool
Flexpen Timelapse from Type[Media Students 
David Ross on Noordzij's Stroke Theory 

C L A S S || F O U R T E E N

Prototype Continues! In-class progress on digitizing/refining/resketching forms. Peer review and mark-up of proofs. Chase showed us Faust's work.

Homework:

  1. Refine letters a e o n H O D (add 'd' to this Round 01 proof set before moving on to Round 02 proof if you haven't already). Proof, and refine more before moving on.
  2. Continue to letters of Round 02 proof (marked in magenta). Bring printed proofs for class on Tuesday.

C L A S S || T H I R T E E N

Small group critiques, focus on consistency: do you have a clear strategy for stems, bowls arches, widths, open-ness and weight. Individual feedback/continue sketching/begin digitizing LIMITED character set (even if you have beautiful forms for your full word adhesion, let’s focus only on the DNA for now, starting with H O D a d e o n)

Homework: Printed proof of these letterforms. You will swap your proof with someone else in the class and mark it up!

N.B. Refer to updated Class Schedule for guide on what is due each class. There is also a letter progression chart here.

C L A S S || E L E V E N

Presentations of logotypes by students & discussion.
Logotype dissection! Begin Prototype(B).

In-class:
Using layout or tracing paper, trace over and 'dissect' the form you just made, sketching parts of the letterforms and isolating features which show underlying principles or concepts, widths, heights, weight differentials, angles of stature/connection or facets of the shape DNA, and include any comments on forms that might be adapted well for text type. This will serve as a visual reference for your written brief.

Homework:
Referring to your visual and contextual research, sketches and examples of typefaces and uses, create a written creative brief for your text typeface project. (Here are some prompts) This should be a brief brief(!) covering the ground in as concise a way as possible. It is a brief for you, to keep your process on track, so use it to include things that will help you stay on target along the way. This should be submitted to Google Drive by the start of next class as a pdf.

Readings:

  1. Review history of capitals The Eternal Letter (supplied in class)
  2. Scans from Hermann Zapf's About Alphabets: Some marginal notes on type design [1] [2]
  3. Thomas Phinney on What does a typical typeface brief look like?


 

C L A S S || T E N

Review of logotypes. Individual feedback. Continue to work on shapes, and prepare presentation. Research typefaces and begin writing brief.

Homework:

  1. Finalize logotype, wrap into 'client' presentation to include:
  2. Logoform @ 3 sizes 
  3. Logoform reversed out of Black and 50% gray
  4. Moodboard/examples of use context highlighting media type (paper, plastic, screen, etc.) and 3 uses for an accompanying typeface.

Begin research on brief, it should clearly outline:

  • personality
  • context
  • purpose
  • audience
  • width
  • weight
  • contrast
  • variety of potential media
  • related typefaces and influences

C L A S S || N I N E

Review prints of logotypes, visual references and paragraph descriptions. 

Read:
Tobias Frere-Jones new Intro to Type Mechanics 
(as a reinforcement of what we've been discussing in class)

Read & Play with: 
(helpful for trying out different forms of your logotype and glyphs)
ILT's guide to Open Type features
Glyphs Tutorial on OpenType Substitution 
For another overview Typofonderie's write up is easy-access

Homework:
Continue to refine your shape(s), testing at different sizes, reversed out, in different settings, prepare a document highlighting the key features of the shapes, the potential uses and the personality. This is due on the 17th, but you can continue to work on it alongside your typeface if you like.

C L A S S || E I G H T

Discussion of wordmark sketches. Selection of two to refine first and then and digitize. Lecture on Defining a brief. John showed us Simon Walker's work!

Homework:

  1. In a short paragraph, for each wordmark, outline the key aspects in abstract terms relating to personality, purpose and features. 
  2. Collect 3 typefaces that embody the personality of your two words (6 total)
  3. For next class bring two wordmarks digitized and printed for critique at a range of sizes

Read: 
We don't need new fonts
Don't design webfonts