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williamjworld · 6 years

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Poster designs

This week, I did some more drawings for a final piece of the “Typography project” when I went home to see my parents last weekend.

When I got the drawings done I scan them for photoshop filling the whites spots using primary colours (Red, Blue, Yellow) for the poster design.

When that was done, I import it to Indesign to set up with the poster design, with the letter exchange document.

Letter Exchange

A design festival for people who use type

7th – 9th June 2019 Cinema Teatro Sarti Via Scaletta 10 Faenza

Italy

Letter Exchange is the first international conference in Italy dedicated solely to contemporary typography, with talks, workshops and tours focusing on where typography is today and where its future may lie. The conference will be held in Faenza, a medieval city in the north-east of Italy, home to an ancient tradition of design and craftsmanship.

Conference Speakers

Sarah Hyndman A British graphic designer, writer and public speaker, Sarah Hyndman asks lots of questions, has become an accidental specialist in multi-sensory typography and is known for her interest in the psychology of type. She is the founder of the innovative Type Tasting studio; driven by her passion for changing the way we think and talk about typography. Sarah is also known for her thought-provoking and highly entertaining typography workshops, events and books including Why Fonts Matter and the type dating card game What's Your Type?

Laura Meseguer A freelance graphic and type designer from Barcelona, Laura Meseguera’s studio works for international and domestic clients but also in self-initiated projects. As a typographer and type designer, she has specialized in all sorts of projects involving custom lettering and type design, for branding and publishing. Her design approach is to create unique solutions for every assignment, based on the concept, the content and the context, always in close collaboration with art directors and designers. She designs and produces typefaces which are distributed through her own digital type foundry Type-Ø-Tones, that is also a member of TypeNetwork. She is the author of TypoMag: Typography in Magazines, published by IndexBook, and co-author of the book “Cómo crear tipografías. Del boceto a la pantalla”, published in Spanish by Tipo, and translated into Polish, Portuguese, English and soon in Chinese. She is a board member of the ATypI since 2017. She also teaches type design and typography in different schools. Laura’swork has been featured in several publications and exhibitions such as Graphic Design Now. She also holds awards from the ADG-FAD (The Art Directors & Graphic Designers Association, Spain), and TDCs for her typefaces Rumba Lalola and Qandus.

Ken Barber Ken Barber is the typeface design director and chief lettering officer at font foundry and design studio, HouseIndustries. His work is in the permanent collection of the Smithsonian Institution’s Cooper-Hewitt National Design Museum and the Henry Ford Museum of American Innovation. Ken has also been honored by the New York Type Directors Club, Association Typographique Internationale, and Design Museum London. In addition to teaching at The Cooper Union in New York City, he regularly leads workshops on the practice of hand-lettering. Ken co-authored House Industries: The Process is the Inspiration (Watson-Guptill, 2017) with Andy Cruz and Rich Roat.

Lance Wyman Design legend Lance Wyman creates graphic systems for cities, events, institutions, and transit systems. Fifty years ago, his groundbreaking identity for the 1968 Mexico Olympics helped establish the modern practice of environmental design. He is a member of AGI, an SEGD Fellow and a recipient of the AIGA Medal. There are three major books published on his work.

Veronika Burian and José Scaglione Choosing and using typefaces has become increasingly complex in recent years. The different kinds of licenses, the large number of fonts on offer, and the variety of pricing structure and language support on the market result in ascenario where type users can get easily lost. In this presentation TypeTogether’s founders, Veronika Burian andJosé Scaglione will discuss how to curate high quality, flexible, and scalable typeface libraries. Learn how to go about selecting and combining fonts, how to judge language support capabilities in an increasingly global market, and how to use typeface customization as a powerful graphic design tool.

Toshi Omagari Toshi Omagari is a type designer at Monotype. He studied typography and typeface design at Musashino Art University in Tokyo, where he graduated in 2008, and went on to obtain an MA in typeface design at University of Reading in 2011. Since he joined Monotype in UK, he has released a number of revivals of forgotten classics such as Metro Nova and the Berthold Wolpe Collection. He has also been involved in many aspects of multilingual typography and font development, including work on various scripts including Greek, Cyrillic, Mongolian, Tibetan, and Arabic.

Ellen Lupton

Ellen Lupton is curator of contemporary design at Cooper-Hewitt, Smithsonian Design Museum in New York City and director of the Graphic Design MFA program at MICA in Baltimore. Her latest exhibition is The Senses: Design Beyond Vision (April–October 2018). She recently published Design Is Storytelling with Cooper Hewitt.

Workshops

Playing with a Heidelberg: Damiano Bandini’s letterpress workshop Damiano Bandini loves letterpress, and movable type. This is why he still runs an old letterpress workshop in downtown Faenza, carrying on the passion and knowledge handed down from father to son. La Vecchia Stamperia isa historic workshop (Bottega Storica dell’Emilia Romagna): everything started in 1920, so this workshop has been printing movable type on paper for more than 90 years – and counting. He has one of the largest collections of very rare metal block-prints and unique artistic wood type in use.

One day workshop, 5thth June 2019, 10.00am

La Vecchia Stamperia

Via Giulio Castellani 25

Faenza (RA)

Straights and Rounds

Richard Bailey and Bruno Maag will explain an effective and efficient approach to designing a typeface (family).

Participants will learn how to define the requirements, aesthetically, technically and linguistically, and how to set up

the design process.

Bruno began his career with an apprenticeship as a typesetter at Tages-Anzeiger, Switzerland’s largest daily

newspaper. He then studied Typography and Visual Communcations at Basel School of Design under Wolfgang

Weingart and Andre Gürtler amongst others. After graduating, Bruno emigrated to England to work for Monotype

where he established their ‘custom type department’, creating fonts for the New Yorker magazine, and others.

Recent highlights are fonts for Rio2016, multilingual type for Nokia and HP, and a lovely serif font for luxury hotel

brand Faena. He is currently investigating type and emotion, with a special interest in the physiological aspects.

Richard Bailey’s background is in corporate services, but since joining Dalton Maag he’s diversified into developing the design service offering and improving the client experience. Recent highlights include Ducati, USA Today, andAmazon. Richard holds the position of Operations Director, and is based in Dalton Maag’s London office.

Two day workshop, 6th-7thth June 2019, 10.00am

Biblioteca Comunale di Faenza (1st Floor)

Via Manfredi 14

Faenza (RA)

Sign Painting with John Downer This class will focus on rendering a few particular styles of capital letters and scripts that were commonly used in European sign painting during the 19thth and 20th centuries.

Two day workshop, 6th-7thth June 2019, 10.00am

Biblioteca Comunale di Faenza (2nd Floor)

Via Manfredi 14

Faenza (RA)

The Original Champions of Design with Bobby Martin and Jennifer Kinon Join Original Champions of Design partners Bobby Martin and Jennifer Kinon and the OCD team for a behind-the- scenes look at their process, their work and their love of type. Since the branding and design agency was founded in 2010, OCD has partnered with a wide range of clients such as the Girl Scouts of the USA, Prospect Park Alliance, The New York Times, the National Basketball Association and The Studio Museum in Harlem to ensure their growth and creative goals. Evening talk, 8th June, 5.oopm Cinema Teatro Sarti Via Scaletta 10 Faenza

Micro Typography with Tânia Raposo In this 1 day workshop you will acquire typographic skills on the micro level — how to solve intricate typographic hierarchies, and how to fine-tune long passages of text. You will learn how and when to use various kinds of dashes, get acquainted with OpenType features and get to know all the strange characters in your glyph palette.

One day workshop, 8th June 2019, 10.00am

Biblioteca Comunale di Faenza (1st Floor)

Via Manfredi 14

Faenza (RA)

For further information and to register for the conference visit the website at www.letterexchange.com

I haven’t decided which is best to use for a final piece, I’ll think about that tomorrow.

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williamjworld · 6 years

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Project Brief- Typography part 2

University of Cumbria BA(Hons) Graphic Design/Illustration Year 1 Module: GRAP4070 Communicating Ideas

Project 4 Letter Exchange

“A typographic hierarchy expresses an organisational system for content, emphasising some data and diminishing others. A hierarchy helps readers scan a text, knowing where to enter and exit and how to pick and choose among its offerings. Each level of the hierarchy should be signalled by one or more cues,

applied consistently aross a body of text.” Ellen Lupton, Thinking with Type

Brief

This brief is about extending the typographic knowledge and skills you started to look at two weeks ago into a larger piece of design using more information. You will be creating a typographic image and then combining this with a body of information which needs to be organised using a hier- archical system. You are tasked with producing a poster for a conference on creative typography called Letter Exchange.

Required elements

Your poster must contain: • an image/illustration made from type/lettering, which captures the idea of typography as an exciting, creative, experiemental endeavour • the full text about the conference (see document Letter Exchange Copyon Blackboard) • the poster must be A2 in size • you may use full colour • you cannot include any other kind of images

The brief divides into two parts:

1 The typographic image

We want to see lots of exploration and experimental play here, to develop an engaging and exciting typographic image which makes the audience regard typography as a creative artform and the conference as an inspi- rational event they would like to participate in. This can be made through any medium. Consider analogue materials and processes as well as digital methods: paints, inks, stencils, playing with the scanner and photocopier, projection, cutting, tearing, folding, sticking, collage, monoprinting, mixed media...If you can imagine doing it, then try doing it. This should be FUN! The only criteria is that it should be made from letterforms (which don’t necessarily have to spell anything). There will be studio workshop sessions to help you to develop your image and you may use any of the workshops for which you have had an induction eg. printmaking, metal, photography,wood etc. But don’t spend longer than the first week doing this.

2 The layout and typographic treatment of the information

Once you have your typographic image/illustration you need to turn your attention to the composition and typographic treatment of the information. How are you going to successfully compose the image and text content together? Remember that the overall layout must be well structured

and lead your reader’s eye through the information. As in your previous project, there are headlines, sub-heads, intros, main body text etc. There should be an evident typographic hierarchy to distinguish these levels of content. How do you use the elements within the type family to do this? (size/weight/u&lc/italics and other variants etc.) We want to see lots of control and attention to detail here. Initial layouts and compositions need to be considered as thumbnail sketches on paper before you start working on screen.

There are no restrictions on the number of typefaces, weights or colours you can use, but be discriminating about how many variants you really need. Is working within one type family, or a limited number of typefaces, going to produce a more coherent piece of design than throwing every- thing at it?

Assessment Criteria

1 IDENTIFY – Demonstrate an understanding of the need to identify appropriate research/source material in order to progress ideas/ concepts. 2 STRATEGIES – Select approaches and strategies that communicateideas and intentions to others in an effective manner. 3 SEQUENTIAL – Understand how to visualise ideas/concepts sequentially and selectively in order to arrive at creative solutions. 4 SORT – Identify an evaluative ability in shifting/sorting/testing/examin- ing in order to further develop ideas and concepts. 5 APPROPRIATE – Demonstrate the appropriateness of a design solu- tion to the demands of a set brief.

Deadline

Thursday 14th March 2019

My tutor Tony and Rhiannon, show some of there own of typography, to get some idea of what me and my group could do with our own typography.

There is also some of artwork from college where I did some typography in one or two projects and my Pinterest board with typography ideas.

https://www.pinterest.co.uk/willsjacksonroc/typography-style/

This has given me ideas to do a poster design with what I asked to do in this project with some inspiration from other typography artists:

Letter Exchange

A design festival for people who use type

7th – 9th June 2019 Cinema Teatro Sarti Via Scaletta 10 FaenzaItaly

Conference Speakers

Ellen Lupton

Workshops

One day workshop, 5thth June 2019, 10.00am

La Vecchia Stamperia

Via Giulio Castellani 25

Faenza (RA)

Straights and Rounds

Richard Bailey and Bruno Maag will explain an effective and efficient approach to designing a typeface (family).

Participants will learn how to define the requirements, aesthetically, technically and linguistically, and how to set up

the design process.

Bruno began his career with an apprenticeship as a typesetter at Tages-Anzeiger, Switzerland’s largest daily

newspaper. He then studied Typography and Visual Communcations at Basel School of Design under Wolfgang

Weingart and Andre Gürtler amongst others. After graduating, Bruno emigrated to England to work for Monotype

where he established their ‘custom type department’, creating fonts for the New Yorker magazine, and others.

Recent highlights are fonts for Rio2016, multilingual type for Nokia and HP, and a lovely serif font for luxury hotel

brand Faena. He is currently investigating type and emotion, with a special interest in the physiological aspects.

For further information and to register for the conference visit the website at www.letterexchange.com

Two day workshop, 6th-7thth June 2019, 10.00am

Biblioteca Comunale di Faenza (1st Floor)

Via Manfredi 14

Faenza (RA)

Two day workshop, 6th-7thth June 2019, 10.00am

Biblioteca Comunale di Faenza (2nd Floor)

Via Manfredi 14

Faenza (RA)

One day workshop, 8th June 2019, 10.00am

Biblioteca Comunale di Faenza (1st Floor)

Via Manfredi 14

Faenza (RA)

Better get planning.

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