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The next project is another typography, but this time I get to create my own typography artwork. My tutors Tony and Rhiannon, show some of their own of typography, to get some idea of what me and my classmates could do with our own. I did some artwork from college, creating typography in one or two projects and using my Pinterest boards will help me with some typography ideas. In this project I created all the alphabets, A all the way to Z and then create a poster of your typography with information next to it. Letter Exchange A design festival for people who use type 7th – 9th June 2019 Cinema Teatro Sarti Via Scaletta 10 FaenzaItaly 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. 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. 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. 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) The project was also a challenge, because is me or one of my classmates did a good job, they our tutors may take one of our poster designs to be copied and displayed for this festival. For a start I went into my own Pinterest board for ideas: https://www.pinterest.co.uk/willsjackson16/artwork/typography/ There were a few that I liked from my board along with some of the work I did at college, I recreated the technique to see how well I go and maybe use which was best for the poster design. I had drawn, glued and cut several types of fonts I like, in several ways. Most of them I've been done with primary colours (red, blue and yellow), one or two of them had some good effects. When I showed my tutor Rhiannon what I've done, she was impressed of what I’ve made, especially with the primary colours. But then she mentioned about this festival that is placed in Italy. She thought I might use these colour for the flagon Italy to make some more effect. One of the other designs I've done was in 3D. I wish I had a desk lamp with me so I could put in any kind of angle and get some shadowy effects. The font I decided to use are some kind of a code, when I drawn them I thought it'd be cool to take Rhiannon's advice of using the primary colours (red, blue and yellow). When I finished the work and added it with information on the Indesign app, then printed it out, and handed it to her with everyone else's. They have decided which to use for the festival, sadly it wasn't mine. Rhiannon told me the work was good, but there were some things they’ve found out were struggling. Layouts were appealing. Use of mixed media in design. The use of visual contrast – negative space, solid black and white colour, contrast of colours and introduction of colour. The use of negative white space tricks the eye into thinking there isn’t as much to read. The diagonal dynamic in one of the posters gave the impression of light coming in. But good use of hierarchy in the text and the information is well laid out eg – workshops/speakers clearly informed reader. Doing a landscape design might have made it a bit harder for me to do, then before, but at least I did everything I can as always. Drawings of typographyDevelopments of the poster |
