Condensed Typeface Design Program
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Frontage Condensed is a layered typeface design inspired by eye catching and colorful facade signage. Its main aspect is like many typographic. Typeface Design.
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The at the Cooper Union is a five-week-long studio course that at first glance, simply teaches the basics and traditions of typeface design. In reality, it was an amazing and intense summer spent with passionate people immersed in the world of type. During the 12-hour days (with breaks!) we studied type history, calligraphy, different drawing techniques, and learned the process of designing and digitizing a font. Most of the program time was spent on a final project in which each of us created an industry-standard OpenType font. This year we were split into two groups, each taught by renowned typeface designers.
Group 1 was with Just van Rossum and Hannes Famira; group 2 with and. Was on hand with his expertise and knowledge of design history, as were other visiting designers and lecturers who rounded off the course. As a student it was incredibly enriching to be around these luminaries, and the diversity of our peers only enhanced the experience. The 29 students represented 16 different countries; most being graphic designers, and all sharing a passion for typography.
Some of us came with the intention of becoming typeface designers, while others wanted to better understand type to become better designers. Experience levels were across the board: some had never drawn letters before, while others had published multi-weight typefaces.
Left: Critique session with Erik Van Blokland. Right: Class with Just Van Rossum. The Final Project At our final presentations on the last day, we each introduced our completed typeface and talked about the journey we took to get there. Despite everyone beginning the course the same way, we all were pleasantly surprised to see the variety of work. Projects ranged from revivals based on tombstone lettering, to traditional Baskerville-inspired faces, to beautifully ornate display type, to text families with 7 weights geared towards publications. Some had created a bold version to accompany their font, while others created a sans accompaniment.
Knowing how much time and effort we put into our work, each and every one of us was proud of the results. Just five of the many typefaces. Clockwise from top left: Barapa by Etienne Aubert Bonn; Moriarty by Kevin Paolozzi; Cancellarecta by Lara Captan; Cumulus by Laura Coombs; Robin by Sian Binder.
How We Got There Before we started on our final font design, the instructors put us through the following course of exercises aimed at teaching us the ins and outs of letterforms, their traditions and history, the rules of construction (and how to modify them), and how to critique our works in progress. Calligraphy During the first days we did not touch a computer, but instead kicked things off with an introduction to calligraphy.
List Of Typefaces
We began with the broad-nib pen, focusing on correct construction of the letterforms, a process that helped us understand the proportions of each letter and why they look the way they do. Group 1 also worked on italics and how they differ from roman shapes, while Group 2 worked on Carolingian and Renaissance models before moving on to tracing the letters, then modifying the outlines and creating new forms. Left: Chalk Calligraphy. Right: Chavelli’s Calligraphy. Understanding Serifs Using selected letters to base our alphabet on, we worked on refining them by hand (again, based on broad-nib pen strokes) and adding serifs.
Typeface Design Software
After focusing on medium contrast forms, we moved on to low contrast then high contrast forms which taught us the relationship between serifs and letter strokes. Sketching & Exploring When it came time to consider our final project, some people had ideas for the direction they wanted to go in, but others were open to ideas and were encouraged to sketch and seek inspiration for their final project (or use TypeCooker!). For some that meant looking at found letters and developing a full font based on those forms; and for others it meant applying a strict set of rules and a concept to drawing new letters. There were a variety of approaches and sources of inspiration. Left: Ron’s Carolingian Calligraphy.
Right: Ron’s tracing. We were taught to approach a typeface design by first experimenting, drawing by hand, searching for the right forms, and only then, when the design is cohesive and consistent, go to the computer. Instructors showed us Gerrit Noordzij’s approach to sketching letters, a method more efficient than drawing outlines first, as the focus is more on form and contrast from the outset. Digitizing After a quick FontLab tutorial we were expected to dive straight in, scan our precise sketches and move to drawing bezier curves instead of pencil lines.
Free Typefaces
We had wonderful TA’s to help and answer questions, they themselves having gone through the same learning process as they were students in the. The fonts were all digitized and perfected using the program of our choice. We learned how to use, but and were other options too.