Artist Typeface Digital Sketchbook

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Artist Typeface By Danny Taylor

Module TFD1064. Design for Communication Design Graphic design group Project – “Artist typeface” Student - Danny Taylor Student number - U1254563 Contact details u1254563@unimail.hud.ac.uk

The Brief Font Bureau is a digital type studio and a leading foundry for typeface design. Over the past 22 years, Font Bureau has designed custom typefaces for almost every major American publication, and its retail library includes some of the most celebrated fonts on the market. Font Bureau intend to release a new series based on; art & design movements, designers and artists. You are required to design a pictorial typeface to be included in their Font Bureau Art range. The finished design will be reproduced in black and white but for promotion, Font Bureau have asked to see designs in full colour. If accepted the designs will be used in a number of point sizes, to include 60pt, 72pt and 84pt. You will probably need to design on a larger scale than this but please bear in mind that the reduction to the given sizes will bring attendant problems of legibility. You will also be required to design an advertisement for your new typeface which will be available as a downloadable pdf available from the site and a type specimen page to be included in the Font Bureau One - Line Type Specimens book.

Artist Research/ Inspiration

Jlromero Design

Images of Jlromero’s work found on: http:// www.jlromerodesign. com/index.html

Jlromero Design is a Spanish male designer that i stumbled upon whist browsing on the website Typography Served. I found the range of work that he produces very interesting. I think what i liked most about his work is that it seemed to have a sense of individuality and personal creativeness. At first i found Jlromero through his ride or die typography, this is basically chains from a bike altered to form the shapes of letters as seen on the next page.

These three patterns ^ all are very good candidates for being transcribed into a typeface. There sense of repetetiveness through each of the patterns helps create a visual for what the type could look like. Although these patterns are a good candidate i’m going to continue to look around and not get hooked on one artist at literally the first step.

In researching further into Jlromero, i found his much wider range of work. This wider range includes the set of three patterns i have shown on this page, i thought that these three pieces would be a good starting point to try possibly try and turn into a type, but as time went by i decided that although his work was of a very good standard it just wasn’t suitable enough for the brief.

This piece > is a finished outcome of what first drew me in to Jlromero’s profile. This is more of a completed piece rather than just a typeface but i still like how the font in focused around the topic of cycling. This style of font is a good thing to look at, because as far as I’m concerned it isn’t based off an existing one. That is one of the key things i am going to look at and focus on when coming to creating my own type, i may experiment with existing fonts to help get letter forms correct but apart from that i will try and create a completely new and original one.

This ^ is an example of Jlromero’s bike type. This is what drew me in to Jlromero’s work, as mentioned. I really like the link it has to the brief, it’s something that was very inspirational for when designing my own font, just with the brief i have, there is no theme, just a task of designing a new font.

This piece < is very different to Jlromero’s other pieces of work, i have included a coloured version of this piece on the other page but i do feel that this piece alone has a much higher complexity level to it than all other pieces by the spanish designer. i really like the sweeping lines that flow throughout the piece, this really helps carry your eye right around the piece rather than focusing it on one certain point.

Neil Duerden

Neil Duerden is a British illustrator who as it is clear to see, focuses on advertisement. I have always been a big fan of Neil’s work, but putting this aside i thought that his style of work would be a good thing to look at. Neil works in a very flowing and sometimes symmetrical fashion to help create some of the pieces of work i have shown here. It is clear to see that Neil’s work generally follows a very intense colour palette, in my opinion i think this adds a lot to his work as if he were to limit his colours and basically tone them down they just would not have anywhere near the same effect. Relating to the brief i think that Neil’s work can be inspirational with the shapes that are created from the swirls of light and colour. One thing i will probably try and re create from this work is probably the aspect of creating a structure without actually drawing it, in other words i would attempt to create a letter form without actually drawing out say the letter ‘S’. Although this may turn out to be very difficult as Neil works in a very highly detailed and complex manor, but i will probably attempt to bring in some elements of his work for when thinking about the future type.

Images of Neil Duerden’s work found on:

http://neilduerden.blogspot. co.uk

Like the other pieces shown on the other page, these pieces of Neil’s work have a very intense colour palette and complexity level, although some look simplistic if you take the effort to look at the pieces more thoroughly its clear to see that even what seems simple is actually highly detailed. This is an aspect of Neil’s work that i really love, it’s something i would like to implement into my own work, by having something that at a quick glance looks simple and basic but upon closer inspection you can see that a lot of effort has gone into the work. One issue with Neil’s work is that it will probably be very hard to implement into the typeface brief, despite having work with fancy typefaces embedded within i do think that it will just be too much of a carbon copy for it to be anything new. I may still attempt to take some aspects of Neil’s work with me as like i said the shapes from his work can probably help create the shapes that would eventually create letter forms.

Peri Goh

Images of Peri Goh’s work found on http://

mouldyart.wordpress.com

To help develop i looked at Peri Goh, i felt like i needed to look at an artist that created typography out of bread as i was thinking about all the textures and shapes that could be involved with type. So after searching around i found Peri’s moldy bread type that he exhibitioned and allowed to go moldy over time. Considering how simple this kind of work is i think it is quite ingenious in that when you look at it on a different day it will be slightly different due to the mold that is taking over. The aspect of the font physically evolving and changing from its original state is really interesting, i like how when it will come to taking the piece down it will look completely different, as if the original was replaced half way through the exhibition for what you see in the bottom left of the page. In looking into my own work i may attempt a transcription of this piece just to see how quickly it develops, the problem is for it to go completely moldy like Peri’s piece i would possibly have to wait for around 3 weeks with it in a dark and dry place, and timescale wise that isn’t very reliable, especially to say that the bread may not even be moldy after that period of time. Also considering that this type will be of a digital format it will be extremely difficult to manage to get a word to slowly decay over time, this could also get really annoying if you write say a 10,000 word essay and by the time you come to the end the work from the beginning is in a completely different state and possibly not even there anymore. So realistically looking at the decaying font i would probably have to look at creating two separate sets of before and after, the before will just be the font before the mold/decaying takes over, and the after will be the font after the mold/decaying has taken over thus showing the two different states of the typeface.

These are just simple close ups of the moldy type by Peri, showing what the type originally looked like and then what it looks like now. This is definitely a clearer way of seeing the change between moldy and un-moldy, yes it was easy to see that one was yellow and the other green but the point of these images is to show the detailed change of the bread. As you can see there are some slight changes to the structure of the letters, i think that if the type was photographed at a much later date it would have been in a more extreme condition than seen in the image in the top right. To prepare the type for its transformation Peri put the letters in this plastic sealed bag, yes its soul purpose will have been for protection and transportation but it being in the sealed dry place will have allowed the mould to start growing. The bread in the image > is probably covered in mould at this stage, but it just isn’t clearly visible to the eye. Again this is something to consider if i were to attempt to create this font myself, which i think i may just to see how quickly it decays and transforms.

Mostafa EL Abisiry

Rather than looking at this work by Mostafa for the type style or the actual wording, i have chosen Mostafa’s work to look at the shapes that are created by the type, the main thing that drew me in to the type is that a lot of it is joined together and seems to be of one flowing shape to help create the full word. Yes there are some pieces of work that are clearly just normal words that don’t follow the same shape or are joined together, but regardless all of the work by Mostafa has a sense of roundness and sense of modernness. I really like how the type is all fairly simple and clean, this is something i’m going to keep in mind when developing my own font, clean and simple. Obviously that doesn’t mean that i am going to just create a boring font that looks like every other one out there, but it does mean that i am going to look at keeping it simple as some times simple can be more effective than a complex type, like what is seen on this page for instance.

Images of Mostafa’s work found on: http://www.be-

hance.net/mabasiry

I really like the shapes and lines created by this type < i don’t know why but i think adding the slant to the type really adds a new element to it, as i really don’t think this type would be anywhere near as effective as it is now if it were to have no angle at all. This is something i’m also going to keep in mind about Mostafa’s work, that in it being simple, clean and slanted helps it become something very interesting and unique.

This piece above in its own right is a typeface, yes it is the intention to look incomplete and still in the development stage, but i do think that this look where all the vector points are still visible adds a sense of detail and complexity to the work, ignoring the unfinished look the actual shape of the type is fairly interesting, its very smooth and flowing, it is definitely a very friendly looking typeface. Going back to the unfinished construction look of the type, i think i will attempt transcribe this as i do think it has a very good look to it, as there are very few typefaces that have been designed to look incomplete so looking at this type i think it is a very unique and individual kind of type.

David Airey

To give myself a break from typographers i looked at David Airey, his mixed style of work seemed like a good idea to look into. Above all else the pieces that stood out to me more than all of the other pieces of work are the three framed ones to the right >, they have the simple and clean look to them that i have mentioned previously that i really like and will keep in mind.

In looking at David’s other work, each pieces seems to be different from the next. Some may be linked in some way but other than that each of David’s pieces of work seem to be new and unrelated to previous works. Which i think is quite good in the fact that if say he were to create a type based off his own work he would have a wide range of different styles and looks to play around with to create what he desires.

But what i like the most about these three pieces is how they create an image or a shape without actually having the shape there, for instance the bottom of the three is seen as a banana, but David hasn’t simply drawn a banana and then put dots around it, he’s used the colouring of the dots to help create the shape. Just like the piece above that one that using different colours has helped create the monaleasa in dot form. Relating to the brief i will attempt to create a type in this method as it definitely seems to work here.

Images of David Airey’s work found on: http:// www.davidairey.com

One piece of type that i had to involve was this, i really like the originality of this type, obviously it is mold able and interchangeable but the fact that it is the human figure aiding the lines helps add a sense of structure to the type. I will attempt this myself just to see how effective it is, a lot of thought will have gone into this though in order to get the lines and shapes created by the hand gestures correct.

As mentioned, David Airey’s work is very unique in itself as really the work he produces isn’t always linked with the piece before. David works in a way that if he were to say i’m going to make a new piece of art, you wouldn’t know what to expect as in a way his work is very random in what the outcome for each of all the pieces will be like. One piece that has captured my eye from this page is David’s lego city, seen above. The aspect of using lego adds the hurdle of trying to break out of the blocky pixel-lated look that lego helps keep within itself. Although using the blockyness of lego can help create a different style and if anything that could be the selling point of the type if i were to transcribe this kind of piece into a type.

Titusprod

Although i have probably looked at too many typographers already i couldn’t let Titusprod slip. I find his work very intriguing in the shapes that the type follows, for instance on all the pieces seen on this page although there is a sense of roundness to the type, there is also a peak to them. This is clearer to see on the other page, as there are pieces that have a circular base which in a way looks like has been pinched in one corner, and the type follows this sort of house style. In addition to the shapes of the type, again simplicity plays a big part in this type, as the majority of the work is pretty simple and clean, but also quite tall and narrow, this seems to add to the simplicity of the work.. I’m not entirely sure how it does this but regardless it definitely works well.

Images of Titusprod’s work found on: http://

www.behance.net/titusprod

As mentioned on the page before this typeface is based around a rounded shape with one corner pinched into a point. I really like how the type in a way is split into two, as if it were two different versions of a letter stuck together, there are some characters from the font that obviously won’t be as easy to follow the structure and ‘house style’ of the others, but it is clear to see that each character is still following that shape. Possibly the best way to see this shape is to simply focus on the top half of the letter g, This shape may spin around to help it fit in with each individual character but apart from that the characters generally all follow this same shape. I also really like how the type is positioned very close together, keeping it compact and small. In a way i think this is to emphasize how each individual character has the line through it to separate it into two halves.

Julien Kneuse Le Ray

If this piece ^ were supposed to be a type it is fairly hard to read, possibly because Julien is not english and it is in a different language, or maybe its simply because it isnt a typeface at all. Regardless of this i really like how the piec follows a certain shape of sticking to a triangular angled look. The fact that it is within a circle helps break down the diagonal lines and draws your eye back to the whole piece rather than just stuck following those lines. Julien’s work is very angle based in that ther are either mainly curves in a piece or mainly straight edges, the main reason i chose to look at his work is because a lot of the ways things seem to have a structure that could allow repetition.

Images of Julien’s work found on: http://www.be-

hance.net/julienkneuseleray

This piece to the left of the naked figures is actually more than a series of images of naked women displayed in an abstract way. To me i see this as an inspirational piece for the typeface brief, in that i see the bodies of the women starting to form what looks like letters, this could be an idea to try. Probably not with a naked woman but the fact that just simple images of a person posing can then be transcribed into a letter form. The issue with this idea is that people could find it hard to work out the letter shape in the series of images of the person. It’s understandable that it would be hard to work out but i think that would be a part of the challenge, to make it discrete enough to not be clearly noticeable yet noticeable enough to be able to see the individual letter forms that are embedded within the images.

This piece to the left is very different in comparison to Julien’s other pieces of work. Not only does it look like a younger piece of work from when he was younger but the work itself just looks like it is aimed at a younger audience. The nature of this piece in being full of swooping curves and lines, filled with bright contrasting colours seems to be a tad like a little doodle you would do when you were a child filling in the gaps made by a scribble you drew in the back of your maths book. I like this about the work, it’s a bit like a professional version of what used to be in the back of my maths book back in high school, so in a way its a very artistic version of trigonometry.

Possibly one of my favorite pieces by Julien is this one with the apple. I think what i like the most about it is the circular shapes spread across the apple, they remind me of the old SKY ONE logo that consisted of the words sky one, but the way the designer of that logo structured the letters was like the circular shapes found on this apple. So for instance the second line down has the letters C E O and U on it. This is just my perception of the piece, obviously people will have different views of what those shapes look like but in my view thats what i see those shapes as. So again in looking at yet another artist where i have ended up looking at the shapes they have used in their work to then see if i could see those shapes correlating into a typeface of my own.

Marco Goran Romano

Marco’s work again, has been focused on because of the shapes and lines used it the work. For instance the pieces above both really appeal to me because of the sense of being connected, which is what the letters have. The letters may not always be actually joined to the next but with the way the type is designed it allows you to create an imaginary bridge between them to fill the little gaps. In looking at the other pieces i really like the urban feel that Marco’s work has to it, for example the piece to the right seems to have a very urban artist based theme to it, i think this is just because of the style that has been used to simply represent someone taking a picture. I think that the style of the hands and the strange shape in the background link together as they look very similar as if to represent that the strange shape is actually the persons arm.

Images of Marco’s work found on: http://www.

behance.net/goranportfolio

Out of all of Marco’s work the piece above is probably my favorite. I really like the textured effect it has on the colour and lines, talking about the colour i like how there isn’t any white, there is a slight yellow tint to the background and to the areas where you would expect there to be white. Then there is a pinky kind of red in the other areas, in a way this is a soft version of what this piece could look like, i really like this effect as this piece has as it could be much brighter and much harsher to the eye if it had more intense colours like pure red and white.

This is something that i will consider when it comes to my own font, so basically i will probably try to avoid white and not use intense primary colours, as then the intensity of the colour isn’t as much therefore it is far less harsh to the eye.

Daniel Buren Daniel Buren is an artist i thought may be very good for a typeface as his line based work seemed to have a lot of potential. When i first stumbled upon Daniel’s work i turned the black and white lined piece into a very crude font (found on a later page). But in looking at this font it didn’t have any potential and i couldn’t see any development that could be made of it. The piece i chose to focus on is the red/orange diamond that you can see in the top right corner of this page. There is something about that piece that shouts out more than the other versions of it. It probably is just down to the colour but i’m not sure, either way i will attempt to create a typeface based off this piece and see where it goes from there.

Images of Daniel’s work found on: http://www.

bortolamigallery.com/artists/ daniel-buren/

Other pieces of work by Daniel are these sort of stained glass windows. These pieces do consist of less stripes than people would expect from Buren but never the less it is still a very effective piece by the artist. I think what i like most about these pieces is the fact that you can see right through them, in a way like the different layers of shapes with the opacity slightly knocked back. The colour choice of the square sets don’t seem to be entirely random, there is some colour coordination involved to help try and fill the empty space in between the squares. I think that the setting of where these pieces of work were photographed helps emphasize the pieces more so. This is probably because the building they have used has vertical pillars that are holding up the roof then has the same kind of pattern along the roof. Both of these together compliment the piece of work in front, probably because the lines are continuing to be vertical and horizontal like the lines of the piece.

Victor Vasarely

Victor Vasarely is an artist that i find very interesting, especially when it comes to his pieces of work that are in a way illusion based. Victor uses a lot of shapes within his work to help build up what you see on this page, along with the choice of shapes he also uses a very specific colour palette to help emphasize the lines and shapes within. In some cases his work can be a little confusing and may not seem as good as the last but generally i think that the majority of his work is something to be considered as brilliant. I personally really like the black and white piece that i have shown on this page as it goes back to the dotted kind of style i liked when i was researching David Airey. But similarities aside this piece is still a piece by Victor Vasarely, so in a way this does have some form of illusion to it just not to the same extent as some of his other work. Comparing Victor Vasarely to all the other artists i have researched i do feel that he is possibly the best artist for the brief, he is definitely one of the artists that i will refine to see if my feelings about his work are correct and worth following.

Images of Victor’s work found on: http://www.op-

art.co.uk/victor-vasarely/

As mentioned on the previous page, a lot of Victor’s work is illusion based, like all the pieces you can see on this page. Although some have the difference of being flat where as others have the illusion of looking like they are bulging out of the page. I really like all of the pieces that i have put onto this page, probably because i am a big fan of illusions. Fan base aside each of the pieces all have the potential to become a good typeface, although despite each of the pieces having potential, one that captured my eye the most is the diamond shape piece seen on the right. This piece really shouts out to me, i think this is because not only is the piece like an illusion but its also seems like an impossible shape. The colour of the piece also adds an element of depth to the shape as it in a way has a shadow and highlights effect on it. Colours aside i think that i will transcribe this piece myself but with the alteration of keeping the piece to one colour, and after looking at all the colours that are on this piece i think the best colour will be the dark blue, this just seems to compliment the shape even more and personally i feel that the blue areas have more depth than the rest. Victor seems to know this himself and created the diamond again in blue seen above.

Transcriptions &Three Chosen Artists

David Airey Daniel Buren Victor Vasarely

Peri Goh Transcription

This is the transcription of Peri Goh’s moldy bread typography. It isn’t the same quality as the original nor has it been framed and mounted in a gallery. But what was the same is the word ‘Stale’ was a reality, as this piece only got to the stale stage, i must have left it in a dry dark place for around three and a half weeks and yet it never started to go moldy. The closest it got to being moldy was the bread went near enough rock solid, which was a good attempt but as i knew from the start relying on the mold to take over was never going to be a very reliable thing to do.

Daniel Buren Type I

This is the very crude and rough Daniel Buren type i created, personally i don’t think it has much potential, as once this is created there isnt major room for improvement, otherwise i would try and develop this type even further. I do like how it was fairly easy to transcribe the original piece of work into a type, but realistically, considering using the type in say a word doccument, its just way too simple and basic.

David Airey Type I

This is a second transcription of Daniel Buren’s work involving the human hand to help create the letter form. I only chose to do the one letter just as an experiment, i could have easily made more letters but the issue was getting the pen marks in the right place to then create the letter form, this letter A took around 7 attempts to get right with a lot of ink and soap wasted before reaching the image seen on the right, and it still isn’t fully accurate. But after the several attempts at this style i don’t think i will take it further.

David Airey Type II

E B

These are two versions of a type i have created based on David Airey’s dotted work. The type in the top left is the first response to the original piece which in my opinion i think looks better than the developed version below.

The top version of the type is more effective as it still follows the guidelines set by the original whereas the bottom version of the type is based off an existing font so lacks the same sort of finess that the first version posesses.

Although it is based of an existing font i do like the bottom type, probably because i have altered the dots in order for them to flow more with the original letter, which is a good development as seen from the base to the ‘final’ but as i said it is based on existing font and that is one thing i would really like to avoid from doing.

Daniel Buren Type II

Aa

This is a more refined and improved typeface based on the Daniel Buren piece shown in the top right. Although that in a way this is still based off an existing font i think this is more acceptible due to the fact that i haven’t actually drawn out the letter form to create it, what i have done instead is basically put an imaginary box around each letter and then fill in the white space. This is a very post modern styled font in my opinion, which in a way is good, but it also goes off what i have been saying throughout this project that it is very simple and clean.

Just to create a bit of variation i decided to basically invert the font. In doing this i could see that it works both ways, and if i were to test it i can tell that the type would also respond well to different colours rather than just relying on the colours of orange and white.

Victor Vasarely Transcription

The green piece above is a very quick attempt at transcribing the diamond shape by Victor Vasarely. As i said i dont really think the greens work very well, hense why i only filled in what is seen there.

To develop from that i created the blue version of the diamond as seen in the TOP LEFT of the page. This is by far more effective than the green and yellow one. In a way it has very sleek, cool and metal look to it. Above all else the actual shape of the diamond i think is possibly a very good base to work from to help create a typeface. In thinking about the type i have decided that i will focus on Victor Vasarely as his work really does seem like the best choice for creating a typeface from.

Final Artist Choice Victor Vasarely

M

Victor Vasarely Type Experiment The letter M to the left is the first attempt of turning one of Victor Vasarely’s pieces of work into a type. The problem with this attempt is that it is based off an existing font, and also the letter is literally just layed over the shape. This was a first attempt of trying to cut the shape out of the artists work, in a way like type i created based on Daniel Buren’s work.

In deciding that i am going to use Victor Vasarely for my typeface i have chosen to look at other pieces of work to see if they could have the potential of being better than the diamond shape i really like. These two letter M’s are both based off the piece seen in the top right. The small piece in the middle is an attempt of making a large version of the original, but unfortunately it did not succeed as for some strange reason, this black triangle kept appearing. But i eventually solved this problem and thats how i managed to create the letter M in the bottom right corner.

Victor Vasarely Type Development

These are better quality and better attempts of creating a font based from Victor Vasarely’s work. The letter N above is the first attempt of creating this style font based from the piece shown in the top right. And i really really am happy with how this turned out. The issue was though that once shrunk down and turned to grey scale the closest i could get to this was what is seen on the right. It still works but it just doesn’t have the same effect as the original blue letter N. I will now try and overcome this hurdle to develop this style of font.

Victor Vasarely Type Guide

This is the guideline i created to help me form each of the individual letters that help complete the full typeface. To some it may seem fairly complex and messy but to me its a very helpful and useful guide to help create the Vasor Italic Typeface, it is still fairly new and basic in all honesty but it does the job. If i were to develop this type further i would probably make the guide much more complex so that then i can make very precise changes and alterations to the type without struggling or going off the guides.

After realising that the blue font was far too complicated and wasn’t really possible to achieve for a full font i created this font. It still had the angled effect and blocky kind of effect, but obviously without the look of the impossible shape. This development of the type was created with a very rough and basic guide. The guide i used to create this font just didnt do the font justice so with this in mind i took it back to the drawing board to then eventually develop the guide that is seen in the top right of this page. Using the new guide i was able to improve the font above and refine it into a better quality typeface.

Final Font (Vasor Italic) This is the final font that i have developed from all my researched artists and typographers that if i have to quote now, i am pretty happy with it. As i have said on an earlier page it isn’t the highly detailed impossible shape like font, but it is a development from that. This type is highly flexible and changeable, the weight of the font can easily be altered and it responds well to changes in colour. Criticisms of the font would be how it is more of a step back than a step forward from the detailed type i created based around Victor Vasarely’s work. But in a whole it is a font i am fairly pleased with considering the time i have had to develop it. If i were to change anything about the font i would look at making mirrored letters (e.g. m&w, p&q) actually seem mirrored, as with how this font has developed the letters p and q both have a different look and size to them, if you were to look at the guides that i used to create the font it is clear to see that both the letters are the same size, although following the nature of the font certain points of certain letters are naturally in certain points, for example the letter q. As seen on the previous page i have shown the guidelines i have used to create each letter to show the points used to help create each individual character. This was just to show that the type wasn’t just thrown together, and that it actually took some planning and careful decision making to help build the structure of each of the letters.

Variation With Colour

These are three variations of my typeface ‘Vasor Italic’, changing the colour helps show if there are any flaws in the design of the type, as letters can respond differently to certain colours. Luckily i can not see anything wrong with each of the coloured type sets. I think that the orange variation if anything compliments the type more than black. The light blue does also have a very positive effect on the type as it helps emphasize the clean crisp lines each letter has, i think the fact that changing the colour or more so adding the colour has helped to show that the type is very simplistic and clean. In looking at these three variations i am pleased to say that none of them look as if they shouldn’t exist, they all sit just right with the colour and style of the type and don’t seem to scream for attention. If i were to change anything or attempt anything about the type when involving colour i would possibly venture into making the type three dimensional to see if removing the flatness of the type would add a new element to it.

Variation With Arrangement

Now i have developed the font i need to consider the positioning of the letters. Which is what this image above is showing, i used the word jig as it contains an ascender and descender, both of which rise way above or way below the normal line of a letter like the letter I. After playing around i came to the conclusion of when writing normally i would use the standard way of positioning the letters, as seen in the third variation. When it came to using the font for posters or a sentence that flows. I would join the words and letters together to help carry the eye down the page.

‘Promotion’ Of Typeface The next few pages are responding to the other part of the brief, where i have to design a web page, advertisement and front cover for the Font Bureau magazine. These responses will be related to my new Vasor Italic font that i have created.

Specimen Book This is a visual representation of my font called Vasor Italic, i have created this ‘cover’ to show off this newly created font for Font Bureau. I have used a shadow kind of effect on the type coloured in sky blue, which in my opinion helps emphasize the natural slant of the font. I used a light gray background on the advert to compliment the black and sky blue, also using the gray removed the intenseness of the white. If i were to have used a white background i think that the advert in general would have just been too intense as i think white is a very harsh and bright colour. In looking at the font itself i do think that it still has work to be done as the letters still don’t fully flow with one another, although i have tried to keep all words fairly close and connected where as normally a type would have a clear gap between separate lines, thus leaving space for ascenders and descenders. So in a whole the type does work but i do think that i will have to think about the positioning and spacing between lines for the font to be fully optimized to its full potential.

These are the two other specimen book pages for my font. Both designed in a similar style as the cover for the Font Bureau magazine. If i were to take this project further and professionally produce this font i would develop numbers and punctuational symbols into the font to give it more of a use all round.

Font Advert This is the advert that i have created to help promote the new Vasor italic font i have created. The image to the left is more just a front cover slash poster, then the image below can be seen as more of what would be found on the other side of the cover.

I have shown the font in different points to show what the font looks like in certain sizes, in this case 60, 72 and 80pt versions of the font are what i have created.

60pt 72pt

Description of the font: Inspired by the artist Victor Vasarely, this sleek slanted font gives a modern look to any work. With its clean lines and shape influenced by Vasarely’s impossible shape pieces of art that is fully flexible and is certain to catch everyone’s eye.

80pt

Website Vasor Italic Font

Inspired by the artist Victor Vasarely, this sleek slanted font gives a modern look to any work. With its clean lines and shape influenced by Vasarely’s impossible shape pieces of art. Can be used as a cover font to a font for a feature in a piece of work. Simple yet sleek lines imbedded throughout the font. Comes in a full colour set also including a new shadowed variation. Created in FEB 2013, this is the new design.

This is the website concept page inspired by the current page found on Font Bureau.

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