Artist Typeface by Emily Stancer

ARTIST TYPFACE

EMILY JANE STANCER U1256843

TYPOGRAPHY

02 WHAT IS TYPOGRAPHY?

The art or process of setting and arranging types and printing from them. The style and appearance of printed matter.

Some of the most important typographic considerations the professional designers needs to take into account:

01. 02. 03. 04. 05.

Size Measure Leading Hierarchy and Scale Tracking and Kerning

THE ANATOMY OF TYPE. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.

Bowl Stem Counter Arm Ligature Terminal Spine Ascender Apex Serif Ear Descender Crossbar Finial Ascender height Cap height X-height Baseline Descender line

RESEARCH & EXPERIMENTS

STEFAN SAGMEISTER Stefan Sagmeister (born 1962 in Bregenz, Austria) is a New York-based graphic designer and typographer. He has his own design firm-Sagmeister & Walsh Inc.in New York City. In Sagmeister's “Thing's I have learned in my life so far” he has short booklets full of experimental type. One of my favourites is the sugar experiment which I will show an example of with my version alongside. The booklet is full of maxims that Sagmeister has learned throughout life, and this maxim is- “If I want to explore a new direction professionally, it is helpful to try it out for myself first.”

I really love how Sagmeister uses objects to create type. He thinks outside of the box to create innovative ideas in typography. He's also not afraid to try large scale experiments, and when they work out, they are amazing.

05 MY EXPERIMENT'S

SAGMEISTER'S SUGAR TYPE

FOR THE WORD “TYPE” I USED PEPPER, AND FOR THE WORD “EXPERIMENT” I USED SALT. IT MAKES THE TYPFACE MORE FUN AND LIGHT HEARTED, AND IT'S ALSO AN EFFECTIVE WAY TO START ENJOYING THE CREATIVE PROCESS OF TYPE.

06 TO THE LEFT THERE ARE TWO EXPERIMENTS I DID AFTER SEEING SAGMEISTER'S PIECE ON THE RIGHT. AFTER GETTING CONSENT FROM A FRIEND, I PAINTED ON THEM MY CHOSEN MAXIMS. I USED PAINT INSTEAD OF CUTTING THE SKIN, OBVIOUSLY BECAUSE I DIDN'T WANT TO CAUSE ANY HARM TO THE VOLUNTEER. BUT IT SHOWS MY RESPONSE TO SAGMEISTER.

POP ART ANDY WARHOL Andy Warhol (August 6, 1928 - February 22, 1987) was an American artist who was a leading figure in the visual art movement known as pop art. His works explore the relationship between artistic expression, celebrity culture and advertisement that flourished by the 1960s. After a successful career as a commercial illustrator, Warhol became a renowned and sometimes controversial artist.

I have always loved the contrasting colours of Warhol's work. His work stands out from anyone else's, and it has landed him the fame of his own style of art. Everyone knows when they are viewing a Warhol piece of art, as his style is so famously well known. My two favourite pieces of his are the Zebra and Monroe on the next page.

WARHOL

MY ROUGH EXPERIMENTS

09 HERE ARE SOME ROUGH EXPERIMENTS FOR MY INTERPRETATION OF WARHOLS WORK. I CHOSE 2 CONTRASTING COLOURS TO WORK TOGETHER. THE BACKGROUND COLOUR IS A WATERCLOUR, AND THE LAYER ON TOP IS OIL PASTEL. THE LETTER A WORKED BEST IN MY POINT OF VIEW AS THE COLOURS CONTRAST MOST HERE.

MORE EXPERIMENTS FOR POP ART

HERE I USED LAYERED TISSUE PAPER AND OIL PASTELS TO CREATE THE EFFECT ACHIEVED. I LIKE THE WHITE OIL PASTEL ON THE BLUE TISSUE PAPER. THIS COULD BE A POSSIBLE DIRECTION TO TAKE.

CUBISM

JUAN GRIS

Juan Gris was a Spanish painter and sculptor who lived and worked in France most of his life. His works, which are closely connected to the emergence of an innovative artistic genre- CUBISM- are amongst the movement's most distinctive.

I really like the bright colours Gris uses throughout his work. It makes his works eye catching and interesting. Also, the shapes and lines entwined within his work give them a quite abstract feel and depth.

GRIS' WORK

JUAN GRIS USES MANY LINES WITHIN HIS WORK. THIS CREATES CERTAIN SHAPES AND DEPTH WHEN SHADOW IS ADDED. THE SHADOWS CREATE A DYNAMIC PIECE OF ART WHICH DRAWS THE VIEWER IN AND MAKES THE WORK MORE INTERESTING.

MY INTERPRETATION

WHEN INTERPRETING GRIS' STYLE, I FIRSTLY TOOK SECTIONS OF HIS WORK OUT AND MADE THEM INTO LETTERS, SUCH AS THE RED 'A' AT THE BOTTOM LEFT OF THE PAGE.

I THEN BEGAN TAKING A MORE TYPOGRAPHIC APPROACH, AND CONCENTRATED ON THE STRAIGHT LINES USED WITHIN CUBISM. I PRACTISED ON 'A, B, C, D'.

PABLO PICASSO

Pablo Picasso (25 October 1881 - 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist, and stage designer who spent most of his adult life in France. As one of the greatest and most influential artists of the 20th century, he is widely known for co-founding the Cubist movement, the invention of constructed sculpture,the co-invention of collage, and for the wide variety of styles that he helped develop and explore.

Picasso's work is ever so easy to differentiate from others. Although other artists adopted the same kind of styles as Picasso, Picasso's work is always easy to spot, even to the untrained eye or people who have no interest in art. That, to me, shows a great artist with amazing skill, technique and style.

PICASSO'S WORK

I HAVE CHOSEN TWO VERY FAMOUS PICASSO PIECES. YOU CAN SEE THE USE OF ODD SHAPES TO MAKE UP OBJECTS, FACES AND BODIES IS A BOLD CHARACTERISTIC IN HIS WORK.

MY INTERPRETATION

HERE ARE MY ROUGHS OF TYPE IN PICASSO'S STYLE OF WORK. USING BRIGHT COLOURS AND LINES, I FEEL I HAVE TRANSFERRED PICASSO'S STYLE WELL IN THE IMAGE TO THE LEFT. I USED OIL PASTELS FOR THESE ROUGHS, AND I FEEL THEY WORKED WELL FOR THE STYLE. RUNNING THROUGH THE MIDDLE OF THE PAGE ARE SOME VERY QUICK DIGITAL EXPERIMENTATIONS OF PICASSO'S WORK I DID.

SURREALISM

SALVADOR DALI

Salvador Dali was a prominent Spanish surrealist painter born in Figueres, Spain. Dali was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painting skills are often attributed to the influence of Renaissance masters.

Salvador Dali was highly imaginative, and also enjoyed indulging in unusual and grandiose behavior. His eccentric manner and attentiongrabbing public actions sometimes drew more attention than his artwork. I love the surrealism in Dali's work. It's so imaginative, that it captures the imagination of the viewer.

SALVADOR DALI'S WORK

HERE ARE TWO OF MY FAVOURITE DALI PIECES. I LOVE THE IMAGINATIVE WAY THAT DALI WORKED.

MY INTERPRETATION OF DALI

HERE I HAVE ADOPTED DALI'S MELTING STYLE. I HAVE JUST DONE REALLY ROUGH VERSIONS OF MY IDEA, BUT I LIKE THE IDEA OF MELTING FONTS. I JUST USED A SIMPLE DRAWING PEN TO DO THESE QUICK SKETCHES. I WOULD LIKE TO TAKE THIS FURTHER AND SEE WHAT KIND OF FONT CAN BE MADE FROM THIS STYLE.

POINTILLISM

GEORGES SEURAT Georges Pierre Seurat (2 December 1859 - 29 March 1891) was a French Post-Impressionist painter. He is noted for his innovative use of drawing media and for devising the technique of painting known as pointillism. His large-scale work A Sunday Afternoon on the Island of La Grande Jatte altered the direction of modern art by initiating Neo-impressionism. It is one of the icons of late 19th-century painting. Pointillism is a technique of painting in which small, distinct dots of pure color are applied in patterns to form an image. Georges Seurat and Paul Signac developed the technique in 1886, branching from Impressionism. The term Pointillism was first coined by art critics in the late 1880s to ridicule the works of these artists, and is now used without its earlier mocking connotation. Neo-impressionism and Divisionism are also terms used to describe Pointillism.

I really love how paintings in the Pointillist style mostly look like a well painted, figurative painting from a distance. But as you lean closer to the painting, you can see the carefully placed dots of paint used to make up the painting.

GEORGES SEURAT'S WORK

PAUL SIGNAC & HIS WORK

Paul Victor Jules Signac (French pronunciation: ( â&#x20AC;&#x2039;11 November 1863 -15 August 1935) was a French neo-impressionist painter who, working with Georges Seurat, helped develop the pointillist style.

MY INTERPRETATION

HERE ARE MY ROUGHS FOR MY INTERPRETATION OF SEURAT'S WORK. THE TOP TWO IMAGES I DID USING WATERCOLOURS, THE BOTTOM LEFT IS A QUICK PHOTOSHOP PIECE I DID USING THE BRUSH. I THINK THE WATERCOLOURS WORKED WELL, ESPECIALLY THE TOP LEFT. I LIKE HOW THE PINKS AND BLUES SMUDGED TOGETHER.

My 3 chosen artist's

I have decided to experiment more deeply into these three artists to demonstrate there suitability for transcription into a typeface.

Salvador Dali Stefan Sagmeister Pablo Picasso

Pablo Picasso font. For this Picasso font I focussed on the straight line cubist approach. It is very simplistic as far as design goes, but I believe I have created a

^NORMAL <FONT

NORMAL

27 DIFFERENT SIZES

ITALIC

COLOUR VERSION BOLD

Salvador Dali Font. For this font I focussed on creating a dripping effect throughout the font. This was inspired by Dali's Melting

< ^ NORMAL FONT

NORMAL

30 DIFFERENT SIZES

ITALIC

COLOUR BOLD

Stefan Sagmeister Font.

I did lots of experimental work leading up to the Sagmeister font, all through inspiration from Sagmeister's Thing's I have learned in my life so far. Above is condensation wiped off a window to create type, and the use of various fonts on skin.

More Experimental Work.

Final Experimental Work.

Stefan Sagmeister Font. For the Stefan Sagmeister font, I didn't want to create a digital font. It seemed silly to create a digital font if I was creating something inspired by Sagmeister. So I chose to do an experimental font using different materials and resources to create the alphabet. Here's a list of the things I used: P- Chocolate. A- Coins. Q- Grass B- Toothpaste. R- Dog Biscuits. C- Matches. S- Grapes. D- Dominoes. T- Twigs. E- Toy Soldiers. U- Lego. F- Candles. V- Glass. G- Tea Leaves. W- Marbles. H- Ketchup. X- Toy Cars. I- Tea Spoons. J- Orange Segments. Y- Toothbrushes. Z- Plectrums. K- Hair Grips. L- My Hand. M- Blue Tack N- Bracelet. O- Shaving Foam.

favourite letters.

refinement. For the final font, I wanted to use the Salvdor Dali font. However, after looking at the font and asking peers for opinions, I realised that the current font was a slightly too cartoonized. I think there was too many paint drips and the font was too curvy. I decided to do a much straighter, modern font with less drips.

before refinementuppercase

after refinementuppercase

before refinementlowercase

after refinementlowercase

FONT VARIATIONS.

NORMAL

BOLD

COLOUR

ITALIC

On the right there is a variety of different sizes of the font. The sizes were done randomly by me, but I will be doing specific point sizes too. I also typed the phrase below to see if the font works in everyday text. I believe that it does, and that it does work at different sizes too.

Final Font.

To the left is my Final Font. I believe that the font works really well and that I've responded to the brief in the correct manner as I've taken inspiration directly from Salvador Dali. The bottom right shows the font working at different point sizes. I've used the sizes that werea asked for on the brief; 60, 72 & 84. I believe that the font works well at all sizes as the melting effect can be seen at all sizes. Overall, I am very happy with the outcome of the font.

60 PT 72 PT 84 PT

For the letters V and W, I decided to change the drips slightly, and so I faced them upwards. This stuck to the surrealist theme inspired by Salvador Dali really well. Even though the font isn't screaming out Salvador Dali, I'm pleased that I have managed to take inspiration from an artist, and then make a font unique and my own, with a hint of their style too.

Existing Font Bureau Covers.

Development Towards Cover.

44 Here I began designing various covers for the Font Bureau book. I wanted to design a few so that I could choose the best one out of all the designs. Personally, I like the fourth design as it's really eye catching and simple.

Final Experiment.

47 Final Cover Design. Here is the final design I chose to use for the Font Bureau Book Cover. I wanted to design a cover that was unique instead of just copying the usual type of cover that the Font Bureau creates. I kept factors such as the apostrophes that get used on most of them.

Existing Fonts.

Website Design.

Here I have designed what I think my Font would look like on the Font Bureau Website.

Final Website.

50 Here I've done a better version of the website/style sheet. I've included more elements so that clients can see every aspect of the font. I included The Quick Brown Fox quote to show how the font works in a sentence, I also included the full alphabet and the variations of normal, italic, colour and bold.

For the advertisement I decided to do a couple of experiments before publishing a final advert. Firstly I looked at using the piece of work which mainly inspired the font. Then there is a much wider understanding of why I created the final font.

52 Final Advert. I didn't really like the first experiment I did, so I decided to take a much more up to date approach. Displaying the alphabet lightly in the background and then using a bold title of Dali, I felt worked really well. I then explained at the bottom how I achieved the typeface and where it could be used. I have decided this will be my final advertisement.

THE END.

EMILY JANE STANCER