Also with the notes I made after directly from the feedback that I got to really know what needed to be done and tested in time for the module submission deadline.
Showing posts with label WHAT IS GOOD. Show all posts
Showing posts with label WHAT IS GOOD. Show all posts
FINAL CRIT
FEEDBACK from Final Crit, in a group of six, each with our own partner to write notes and pointers brought up from within the crit.
TYPOGRAPHY DAY 2011
I just found out about Typography Day, spanning over three days, held in Mumbai, it showcases new and innovative typography as well discussing issues in the contemporary world related to typography. There are workshops, presentations and experts from all over participate in the sessions.
This will be the fourth year running, and this is the official information about the event.
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Typography Day 2011 is being organized at the National Institute of Design, Ahmedabad in collaboration with the Industrial Design Centre (IDC) at the Indian Institute of Technology Bombay (IIT Bombay) with support from India Design Association (InDeAs).
The event will include a seminar which will be devoted to addressing issues faced by type designers, type users and type educators. The program will feature presentations on the first two days followed by day of workshops dedicated to typography and calligraphy.
The event is planned over three days,
The event is planned over three days,
Day 1-2 : Seminar focusing on ‘Typography and Expression’
Day 2: Workshop on Typography/Calligraphy
Day 2: Workshop on Typography/Calligraphy
Themes
The Seminar will focus on, but will not be limited to the following issues:
- Typographic experiments and explorations with respect to Expressive typography.
- Typographic expression using multilingual scripts.
- Typographic expression in native (indigenous) Scripts.
- Typography as an expression of local contextual design.
- Research activities in expressive typography.
As part of this organisation I intend to run my exhibition focussing on current issues of handwriting, to promote handwriting and the relationship it has with typography. This can run in conjunction with the exhibition, but held in Leeds, clearly not everyone will be able to travel to India to celebrate the art of typography.
It can be international.
AN IDEA
An idea on how to convey the representation of handwriting and type working together, especially within the relationship of 'my handwriting, and favourite typeface'.
Want to play of illustrator or draw type as it can merge between the two, changing from one to the other. Think this could be an interesting way to start to play with design as handwriting and type really come together.
The second was simply the idea of overlaying the handwriting and type, first of all to see the difference between the two at face value, where similarities lie and parts of type that extend out. The second reason why I thought this could work quite well with the project was play with colour. This could include using different colour systems, overprint fill and or knockout to see the affect as each time it changes.
HANDWRITING OF THE FAMOUS AND INFAMOUS
SHEILA LOWE's
"With more than 35 years experience in the field of handwriting, Sheila Lowe has been qualified as a handwriting expert in the California Court system since 1985. She holds a bachelor's degree in psychology and was certified by the American Handwriting Analysis Foundation (AHAF) in 1981, as well as the Society of Handwriting Analysts in 1985. She is an active member of the National Association of Document Examiners."
This book has undergone looking at the handwriting of various people, writers, politicians, musicians there a plenty of historical figures and cultural legends dating back to the 15th century. Sheila is fascinated with handwriting and analysing what each individual persons handwriting says about them, here she has pieces of writing from all these people, whether letters, poems, scripts or stories.
JANE AUSTEN
Short biography of Jane Austen, looking at the contextual and cultural side of Austen in the time she lived and worked. She started writing in 1787 had had her novel published in 1811.
Jane Austen grew up and was well educated but still lived the life of an ordinary woman, which is why her work became such prevalent literature, and cultural.
Sheila looks at different subjects within her subjects, including Personality Overview, Relationships, Intellectual Forces, Physical Drives and Motivating forces.
Jane Austen is seen to have a handwriting style usually seen in modern young women at the time with a focus on movement, narrow margins and a strong right slant and long lower zone. This means she was probably a young woman, easily bored whose interests encompassed a wide range.
It is simply things like this that I am not sure how much I trust graphology and am quite sceptic as to what is being portrayed, however I think it is very interesting still to look at the handwriting of such a famous writer for example. It is historical as is she, I mean I myself am not a fan per say of Jane Austen but I sure can appreciate how well a writer she is and how much of a massive impact she had on people.
If she wasn't taught to write, and be so well educated from her father and couldn't simply just write and write she never would have been anybody. Her writing is incredibly famous and she has made a remarkable difference from doing so.
THIS IS MY HANDWRITING...
Research into other peoples handwriting and to see what their favourite typeface is. This is what will be the basis of my design and and research to find out the correlation and to see the link in each individuals handwriting and what they have declared their favourite typeface to be.
HANDWRITING VS. E-MAIL
I have just been reading on Typophile a forum post regarding Handwriting vs. E-mail and the implications each gives. What is really the best way to communicate in a written way, by hand or using type. It is an interesting aspect of everyday life, we receive e-mails constantly, and letters often but they are rarely good.
I do not think you can possibly get the same intimate feeling of receiving a personal letter than an e-mail. E-mails are waste, they are intangible and due to the wide use of them now commercially they dehumanise. Letters would be more cherished simply for the opposite, the reader can know that somebody has actually gone to the effort to produce the letter, that the letter has been created using the tangible world.
There are two reasons why the use of handwriting in a letter can be seen to be so effective, and create such a warmth,
Number 1
Handwriting is getting more and more rare, especially the use of someone else reading your handwriting, by receiving a letter that is handwritten it gives the letter value.
Number 2
Everyone's handwriting is different, and everyones handwriting changes from letter to letter.
BUT, I think handwriting is good sure, but by no means does that mean I dislike type. I wish there was a perfect balance of type and handwriting, to live together in harmony. I don't want to see handwriting die.
A letter is not just the written but along with the letter comes the texture, the color, the size, the smell, even the noise from the paper, there is also the envelop you need to open, there are the stamps. All of these cannot be compared with something found on the screen. The letter has such variables to it, such small matters would be different for each letter creating the value of the letter again to be so much more. This is opposed to the systematic routine of logging into your e-mails, viewing your inbox to click on an e-mail depending whether or not you even want to look at or read it. With two clicks the e-mail can be deleted.
There is one important difference between the handwritten and typed that affects us all. It is simply because of the letter, that is a tangible object it is tactile which allows us to have a human interaction with the object and and the reader. By typing, you have the control to change and delete anything you write, it can disappear. This is very different to work on paper, your handwriting is forever varying, whether it changes drastically from word to word or subtle differences, human error can be seen in character formation, or movement on the page. These are all subtle errors but obviously we are all exactly the same, it means nothing except a level of communication. We can accept these on a human level, the computer loses all sense of the person, this cannot be retrieved, however this does call for certain situations. There are plenty of things that will always be better typed for example more serious, official matters where warmth and a personal touch is not needed, it is not relevant.
MY PENGUIN
The Penguin Group, comprises all Penguin Books, and is the biggest trade book publishers in the world, it was founded 1935. In November 2006, it was decided to publish its favourite books without front covers, leaving it completely up to the user to design, the project was called My Penguin and people could then send in their own front covers. This is where I saw these, in the online Penguin Gallery.
I picked these out because of how they've been designed, the person in each of these have decided to use handwriting instead of type to work along side the image. I think that overall the whole idea of having the project, My Penguin is really good, and is really interesting to see the different outcomes, however I am more interesting in seeing the handwriting. They are all but a couple here that look entirely like normal handwriting, but despite this I think the handwriting works perfectly with the rest of the design. If this is truly their handwriting then I think it is a really interesting connection then between this the image, it sums up personality and style.
KEITH ARNATT
'NOTES FROM JO' 1990-1994
Keith Arnatt exhibits notes from his wife who had sadly passed away. The notes are simple things that would just be found in the kitchen on the fridge for example. These notes depict everyday little things that could be easily communicated from the simplicity of a note but affection can be seen within these. The notes are personal, and can be seen that they are within a relationship, after Arnatt's wife died he published these.
Keith Arnatt exhibits notes from his wife who had sadly passed away. The notes are simple things that would just be found in the kitchen on the fridge for example. These notes depict everyday little things that could be easily communicated from the simplicity of a note but affection can be seen within these. The notes are personal, and can be seen that they are within a relationship, after Arnatt's wife died he published these.
The reason why I like these show much is simple, I think the ease the comfort of these notes, quickly scirbbled writing which are so personal. The statements themselves might sound quite typical but it is from the whole context of what has been written and how. This must mean so much to Keith Arnatt, loved ones handwriting is important, its personal.
TYPOGRAPHERS HANDWRITING
Whilst researching into handwriting, the idea came to me of the link between handwriting and typefaces, by me saying handwriting is good, by no means am I trying to say that type is bad. There must be a perfect way to find the link between the two, one developed from the other and from this infusion, both have developed.
I found this article on a blog I was reading and it was perfect, it fits completely with the same sort of idea I was thinking. Where as this post is purely interesting in typographers handwriting I am more interested in any ones handwriting, however this post is really interesting.
Whilst designing type, there without a doubt must be an extraordinary link between the typographer, their personality and style and the typeface they want to create, what they want to communicate. Is this a direct link, can it easily be seen from handwriting to typeface. The typographers do after all influence us all, type is everywhere, it has an impact.
This is what was on the blog post, a number of prominent typographers that had been asked to send in a scan of their handwriting as we see it in relate to their type.
Erik Spiekermann
Erik is a renowned designer and typographer who has been involved in every facet of visual communication – practicing, writing and teaching, as well as running his international agency SpiekermannPartners.
He has designed corporate typefaces for Nokia and Deutsche Bahn, as well as the fontsFF Meta, ITC Officina, FF Info, LoType, Berliner Grotesk and many more.
| FF META |  |
|---|---|
| ITC OFFICINA SERIF |  |
| HANDWRITING |  |
| BONUS |
Göran Söderström
G̦ran Șderstr̦m began working at various advertising agencies before forming his own design studio РAutodidakt Рin 2006. Since then he has focused largely on type design.
Göran's typefaces are published via Fountain, Psy/Ops, and Veer and they includeTrentor, Exemplar Pro and Navelfluff.
| EXEMPLAR PRO |  |
|---|---|
| NAVELFLUFF |  |
| HANDWRITING |  |
Nikola Djurek
Nikola Djurek owns the type foundry Typonine in Croatia. As well as running his own foundry, Nikola teaches in the University of Zagreb's School of Design and at the Academy of Art in Split. He is also the Croatian delegate for ATypI (Association Typographique International).
Nikola's type designs include Tempera, Typonine Stencil and Amalia. He designed DTL Porta for use in the newspapers of Dutch publisher Wegener.
| TEMPERA BIBLIO |  |
|---|---|
| TEMPERA ROSE |  |
| HANDWRITING |  |
Sebastian Lester
Seb Lester is a type designer and typographic illustrator who operates out of London. His beautiful type creations are used by Intel, Dell, The New York Times and The Sunday Times, amongst others.
His fonts include the comprehensive Soho family which was recently joined by Soho Gothic. He has also created the clean Scene and the modern Neo Sans.
| SOHO GOTHIC |  |
|---|---|
| SCENE PRO |  |
| HANDWRITING |  |
Mark Simonson
Mark Simonson started out as a graphic designer and illustrator, transitioning to art director on several Minnesota-based publications throughout the 80s and 90s. In 2000, his interest in type design lead him to open his own shop specialising in lettering and typography.
Mark has created an abundance of good fonts, many with a handwritten or art deco influence, including Felt Tip Roman, Mostra, Lakeside, or the somewhat more geometric Proxima Nova.
| FELT TIP ROMAN |  |
|---|---|
| MOSTRA |  |
| HANDWRITING |  |
Kris Sowersby
This New Zealander developed a love for letterforms in design school and has been infatuated ever since. He now produces stunning retail typefaces and custom typefaces for lucky clients. (He's one of my favourite typographers of the past few years.)
Kris collaborated with Erik Spiekermann and Christian Schwartz to produce FF Meta Serif and has created several distinguished typefaces in his own right: Newzald, Feijoaand the TDC awarded National.
| FEIJOA |  |
|---|---|
| NATIONAL |  |
| HANDWRITING |  |
Eduardo Manso
Eduardo Manso had the usual stints in advertising agencies and design shops before settling in Barcelona, where he now freelances and teaches typography in several different schools.
Eduardo's typefaces have received numerous accolades including several TDC certificates of excellence for Relato Sans and Bohemia. Bohemia also won first place in the 2003 Linotype International Type Design Contest.
| RELATO SANS |  |
|---|---|
| BOHEMIA |  |
| HANDWRITING |  |
Veronika Burian
Veronika Burian originally studied as an industrial designer, but discovered her passion for type whilst in Italy. After receiving her Masters in Type Design she joined forces with José Scaglione to create the independent type foundry TypeTogether.
Her typeface Maiola received a TDC certificate of excellence, and she has since released several fonts in partnership with José: Karmina, Ronnia and Bree.
| KARMINA |  |
|---|---|
| MAIOLA |  |
| HANDWRITING |  |
Marian Bantjes
Marian Bantjes has – for me – redefined what it means to be a typographer. She doesn't produce typefaces, and her most famous work doesn't involve typesetting paragraphs of text (although she certainly has that background). Instead, Marianillustrates type with a boundless freedom and intricacy that gives each of her pieces a unique, handmade appearance.
| SAKS FIFTH AVENUE |  |
|---|---|
| YALE ALUMNI |  |
| HANDWRITING |  |
Dino dos Santos
Dino's studio, DSType was started in 1994 and has focused almost exclusively on typeface design – both custom and commercial.
Dino's output of typefaces can only be described as prolific. Ventura was awarded a TDC certificate of excellence and most of his other fonts – including Andrade, Esta,Estilo and Leitura – have either won awards or been featured in the top fonts for their respective years.
| ESTILO SCRIPT |  |
|---|---|
| VOLUPIA |  |
| HANDWRITING |  |
The results I thought were great, there was such a strong correlation between their own handwriting to the typefaces they've designed. It is really interesting to see, the personality that can be seen in their own hand, comes through into what they are trying to communicate. This therefore as a typeface, allows others to be able to pick a typeface to be able to represent what they want it too.
If anything this shows the importance of handwriting, and in such a digital age, we shouldn't lose focus off of handwriting, after all with out it we would never have this fonts from such prominent typographers and in the future if handwriting does become obsolete what would happen then to developing type design.
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