W E E K || E L E V E N

This week, in class, our goal is to complete a first pass at the full character set in the is Round 07 proof by the end of class on Wednesday 7th. This is the full set of required forms for inclusion in your specimen and final submission. However, you should feel free to add numerals or extra punctuation if it will help you create a more well-rounded specimen.

Homework for (next) Week 12:

  1. Complete any missing characters in full character set Round 07, refine and print proof for Monday.

  2. Begin to sketch ideas for your specimen, being considerate of the most interesting details of your typeface, and using content that highlights its usefulness in the context you have defined for its use in your brief. Bring sketches for Monday.

  3. 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 and test your specimen ideas. 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. Bring prints for Monday.

Check the shared folder for some supplementary readings on the specifics of sans serifs/seriffed and other genres of letterforms.

W E E K || T E N

Individual Feedback. Swap Glyphs files and proofs with a partner. Look through and make notes on each other's curve construction, alignment, spacing and use of vertical metrics/font-naming: see checklist. Mark up proofs, and discuss. Continue working your way to Round 05.

Continue to Round 06. Here is Round 07 in case your trajectory has led you to some of these characters already. We are aiming to have Round 07 complete by November 7th.

Read Forms of the Letters from Walter Tracy's Letters of Credit Numerals from the same.

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

Review of Precedents & Optical relationships (see shared files), Spacing in Glyphs, and Components in Glyphs. Class critique of prints.


  1. Continue to work on refining shapes of Round 01 & Round 02 proofs when completely happy with shapes of Round 02; (feel free to email me for input, between classes from here out, I want you to keep moving and proofing regularly, so please don't hesitate!)

  2. Continue to Round 03 proof. I'm also including Round 04 and Round 05 here in case anyone gets really into it and moves quickly. Each of you has different briefs and shape languages to work on so the pace will vary according to the level of difficulty of your brief.

Mark Jamra's Form and Proportion in a Text Typeface and spacing guide, and cross reference with Walter Tracy’s spacing guide. Remember the spacing of a typeface is equally as, if not more important than the design of each individual letterform!

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

Group critique of progress on Prototype. Recap of procedure for spacing in Glyphs. 


  1. Refine letters d o n H O D and add e a p (and proof using this Round 01 proof). Proof multiple times and refine more before moving on to Round 02.

  2. Continue to letters of Round 02 proof (marked in magenta).

  3. Bring printed proofs to both sessions next week, updating the proof to suit the letterforms you have (as the missing forms will cause havoc in spacing)

    Note: If you are not confident in your Round 01, do not move on to Round 02. You will not fall behind if you spend more time refining the control characters, but you will get overwhelmed if you give yourself too many unresolved glyphs to work on.

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

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

Review of PDF presentations of logotypes by students in small groups & discussion. Logotype dissection! Begin Prototype(B).


  1. 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. It's ok if you are still refining, this process should help you discover and leftover inconsistencies. You should aim for sketches for the letters a d h e s i o n and H O D S T E A for next class based on this dissection.

  2. 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. Please email this to me by the start of next class. 

  3. For next class, bring refined sketches of the assigned letters, and a printed proof of the digitized letters HODnop.


  1. Scans from Hermann Zapf's About Alphabets: Some marginal notes on type design [1] [2]

  2. Thomas Phinney on What does a typical typeface brief look like?

  3. Doyald Young’s Fonts and Logos pp. 223-229

C L A S S E S || 13, 14

Reviewing and refining logotype for presentation on Monday October 15th.

Homework/Submission guidelines:

Please submit the following digital files here:

  1. logotype presentation pdf

  2. Glyphs files

  3. OTF files

  4. any digital process work

N.B. Please submit process for both logotypes you worked on, but only present one in your presentation pdf as the final product. The development of other one is counted as process toward this final outcome.

C L A S S E S || 7–12

Aoife dropped the ball on updating class posts, but students valiantly continued on, completing their logotype project for Class 11 (October 1st) and moving on to sketching and digitizing their logotypes.

N.B. As of today, we are in line with original Fall Schedule. So please do keep an eye on this for what is due next class!

Homework from Class 12 (October 3rd):

Take two of the sketches for your logotype, and digitize for Monday October 8th, printed for review, as well as to articulate a brief for the logotype, framing its intended use and giving contexts which will serve as a means to develop a brief for your related typeface design project.

C L A S S || S I X

Meet @ regular time to review proofs with JoYo/Freesia


  1. Refine a h & H A ! and print proofs for next class' full class critique
  2. Begin work on 'n o d D O . ' set based on shapes you have so far, depending on how you get along, bring printed proofs to next class (Monday 17th) of either ah&HA! (proof) or ahnod&HAOD!. (proof)

Read & Review:

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

C L A S S || F I V E

Class meets with Freesia/JoYo to critique and field GlyphsApp questions. Aoife @ ATypI.


  1. Make proofs of both ampersand (proof) and a h & H A ! group (proof
  2. Continue digitizing, proofing and refining a h & H A !
  3. Meet on Wednesday the 12th @ regular time to discuss proofs with Joseph Young (JoYo) VCD MFA candidate and help with Glyphs from Freesia/JoYo


Gerry Leonidas' The Origin of Adhesion or watch the video 
William Addison Dwiggin's letter to Rudolph Ruzicka
Classification/Anatomy of Type Scans

C L A S S || F O U R

Randall Slaughter's lettering workshop!!


  1. From your own personal explorations and those developed in Randall's workshop today, develop, refine and digitize your 3 ampersand forms, bearing in mind, one of these will lead the way for the accompanying glyphs in the next step below.
  2. Once you are happy with your ampersands, choose one to derive and digitize the shapes of the letters a h H A !  
  3. Meet on Monday the 10th @ regular time to critique and get GlyphsApp help from Freesia and JoYo

Note #1: You should feel free to email me while I'm away but I will not respond immediately so please make use of each other as best you can next week, many eyes are better than one set in any case, so use your peers as guinea pigs! =)

Note #2: The letters you are building in this project are NOT those that you will be making into a typeface for the semester project. This first project is a drawing practice assignment, and aimed at getting you up to speed in Glyphs. After this you will have another discrete project before moving into the large scale type design project, so don't worry too much about how viable your shapes are as the starting point for a typeface, and just try to be experimental, gathering references for the shapes you build and choosing forms to digitize in the initial ampersand set that give you as much experience of drawing different kinds of shapes as possible. The benefit of the smaller character set is you can make some weird and wild shapes and not have to worry about building hundreds of related forms all with the same level of weirdness. So now is the time to throw caution to the winds!

C L A S S || T W O

Introduction to Glyphs font editor & in-class bezier drawing from sketches. Review of sketches, discussion of process. 


  1. Begin to digitize and refine a variety of your ampersands (must include one ampersand with an 's' curve
  2. Continue to sketch and experiment with ampersand shapes
  3. Name your glyphs 'ampersand', 'ampersand.001', and 'ampersand.002' 
  4. When happy with your shapes, name your font in the Font Info Window, Generate an OTF and install your font (you can just drop it in your 'Fonts' folder or install using FontBook or another font management software
  5. Use this template proof to show your 3 ampersands on one letter-size sheet. It should look something like this when finished.

Glyphs Sketching tutorial
Glyphs Drawing Good Paths tutorial

Please send your payment to info@glyphsapp.com in the amount of the kind of license you wish to purchase. Tim (tim@glyphsapp.com) will then send you a license file which you can drag onto your demo app icon to activate.

C L A S S || O N E

Hellos, Syllabus & VCD Policy Review
Type-Making and the Origins of our Alphabet lecture.

AndPerSeAnd begin researching / brainstorming / sketching

Range of sketches for And Per Se And exercise, to serve as basis of your digitizations (aim for 50 by Wednesday)
References as printed or photocopied to show in class.

Shady Characters
History of the Ampersand

Refer to:
Ascender Fonts_Coming Together
Font Aid