MFA Thesis / Flora Cruells Benzal
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The Thesis Background
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The Main Objective
008 Historical Frame 010 Typoramics and I
016 Objective 018 Goals & Strategies 020 Target Audience
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The Design Research & Exploration 024 Moodboards 032 Field Research 036 House & Heath Event 038 Ceramic Conferences
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The Identity Development 042 Logo Development 056 Typography System 058 Color System
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The Product Process 062 The Art Catalogue
078 Work Aprons
068 Packaging & Boxes
080 Instructional Cards
072 Ceramic Tools
084 Alphabet Blocks
076 Rubber Stamps
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The Final Deliverables 092 The Art Catalogue
114 Ceramic Tools
100 Alphabet Blocks
118 Instructional Cards
106 Rubber Stamps
124 Social Media Forums
110 Work Aprons
128 Online Presence
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Typoramics / The Design Research & Exploration
thesis /’THēsis/ the·sis [thee-sis] [thee-seez] noun: thesis; plural noun: theses 1.
2. 3.
A proposition stated or put forward for consideration, especially one to be discussed and proved or maintained against objections. A subject for a composition or essay. A dissertation on a particular subject in which one has done original research, as one presented by a candidate for a diploma or degree.
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Typoramics / The Design Research & Exploration
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THE THESIS BACKGROUND
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Typoramics / The Design Research & Exploration
Historical Frame Typoramics and I
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Typoramics / The Thesis Background
Historical Frame
Ceramics, from the Greek keramikos, meaning “pottery,� often referred to objects made out of clay or clay mixed with other materials, then subjected to heat. Ceramic art, over the years, has been labeled many things, from fine art to craft, whether in the form of decorative objects to archaeological artifacts. Over history, most cultures have produced some kind of ceramic objects. Ancient civilizations, such as the Mayans, Cretans, Chinese, Persians, and Greeks, were known for creating beautiful pieces of pottery that stood the test of time. Unearthed, over time, ceramic relics have told stories about their owners, their use, their culture, and their place in time. Contemporary ceramic artists have furthered the conversation with new and exciting works that along with shape, decoration, form, and overall finish also incorporate typography to give meaning to their ceramic artwork.
A graduate graphic design thesis / Flora Cruells Benzal
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Typoramics / The Thesis Background
Typoramics and I
There are two main reasons why I have chosen this thesis. The first is because I am a ceramic artist myself. I am familiar with other ceramic artists and I am passionate about the ceramic world. The second is because I truly love words. I speak several languages and I am always interested in learning new vocabulary and its meaning. Thinking of those two things that excite me, made me realize that the combination of both would make for a powerful thesis. A lot of people who are interested in ceramics don’t know much about typography or don’t know how to use it in their own work. Typography can be a very powerful element in order to push the artistic idea further. My intention with this thesis is to encourage ceramic artists to use typography in their ceramic work and for designers to see type in a new and more physical way. Showcasing the many possibilities where these two disciplines meet, is going to make Typoramics a very successful thesis project.
Having a BFA in Ceramics and a BA in Spanish Literature, I obviously have a deep love of clay and a love of words. My thesis had to involve the things that I am passionate about and truly love.
A graduate graphic design thesis / Flora Cruells Benzal
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Typoramics / The Design Research & Exploration
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THE MAIN OBJECTIVE
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Typoramics / The Design Research & Exploration
Objective Goals & Strategies Target Audience
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Typoramics / The Main Objective
A graduate graphic design thesis / Flora Cruells Benzal
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Can two窶電imensional typography find a place of convergence among three窶電imensional ceramic art? Typography is usually thought of as a two窶電imensional form; something that often cannot be touched or felt. Ceramics on the other hand is a very physical expression of fine art. The two of them seem to be on divergent planes, however, on certain occasions, there is a point where they meet. Ceramic artists use typography to further convey meaning and thoughts to their artwork. Some of the type is purely instinctual and highly decorative while other is well thought out and meticulously executed. As opposites, typography and ceramic work can live in a place of convergence where meaning and beauty coexist. Typography can be seen in a different and more tactile way and ceramics can help with that aspect.
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Typoramics / The Main Objective
Objective
How can I make people excited about typography in ceramic art?
The main objective for Typoramics is to help facilitate the incorporation of typography into ceramic artwork. The intent of my thesis is to establish a way to showcase how lettering and clay work can find a place of commonality within the art world’s wide spectrum of media.
A graduate graphic design thesis / Flora Cruells Benzal
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Typoramics / The Main Objective
Goals & Strategies
There are three main avenues by which Typoramics is going to accomplish the objectives set:
Educate • • •
Inform ceramic artists and designers about typography and ceramic art Connect with other ceramic artists using typography Visual aids for tools, techniques and processes
Motivate • • •
Showcase the possibilities of typography on a three dimensional realm Create online community platforms for ceramic artists Exchange of ideas, concepts and designs related to typography and ceramic art
Excite • •
Encourage other artists to use typography in their own artwork Design and creation of artwork
A graduate graphic design thesis / Flora Cruells Benzal
Interactive Website
Online Forums
Artist’s Catalogue
Ceramic Typography
Instructional Cards
Collateral Items; Tools, Rubber Stamps, Aprons & Packaging
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Typoramics / The Main Objective
Target Audience
Typoramics’ target audience is mainly ceramic artists along with anyone else who enjoys playing with clay, whether they are professionals or amateurs. The project is aimed at the ceramics community, which should be the most responsive to finding the beautiful connection between their own medium and typography. It is my hope that this thesis will provide clay enthusiasts with a new avenue for showcasing and experiencing their craft.
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The Professional Potter He has been throwing pots for a few years now. His designs are mostly plain, but he would like to add lettering to some of his forms. He is interested in learning about different typefaces for his work.
The After–Hours Sculptor She enjoys working in new sculpture forms once her day job is over. She uses clay as mind therapy and would love to use type to convey some of her inner thoughts.
The Casual Hobbyist She takes classes here and there because she thinks ceramics is fun. She would like to try something new and incorporate letters into some of her clay pieces.
The Ceramic Enthusiast She attends all kinds of ceramic workshops and loves to learn new techniques. She has never used letters in her work, so she is excited about learning how to add typography to her pieces.
The Clay Aficionado He has entered various ceramic competitions and won a few prizes with his work. He has used lettering in the past, but mostly hand–drawn type. He does not know much about typography
The Recognized Artist She has made a name for herself in the ceramics community and has used typography in some of her artwork, but would like to expand her knowledge of type and add variety to the lettering she adds to her pieces.
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Typoramics / The Design Research & Exploration
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THE DESIGN RESEARCH & EXPLORATION
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Typoramics / The Design Research & Exploration
Moodboards Field Research House & Heath Event Ceramic Conferences
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Typoramics / The Design Research & Exploration
Texture Mood Board
A graduate graphic design thesis / Flora Cruells Benzal
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Typoramics / The Design Research & Exploration
Typography Mood Board
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Typoramics / The Design Research & Exploration
Color Mood Board
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Typoramics / The Design Research & Exploration
Ceramic Forms Mood Board
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Typoramics / The Design Research & Exploration
Field Research
Aside from mood boards, I also did field research, meeting with various ceramics artists in the area to get their two cents on my thesis idea. From them, I received input on how to approach the matter and what kinds of solutions they would like to see come to life. I also visited various ceramic–supply stores, as well as craft and hobby stores. The visits allowed me not only to get inspiration, but also to see what kinds of clay–artist tools they carry and what I could do to produce my own for Typoramics.
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Typoramics / The Design Research & Exploration
House Industries / Heath Ceramics Event
I was lucky enough to attend a House Industries special event hosted by Heath Ceramics in San Francisco. It was a great opportunity for my thesis research to see firsthand how clay and typography can produce beautiful designs together. House Industries is one of the country’s leading type foundries. Aside from producing beautiful typefaces, it also is expanding into other design areas, including ceramics. While at the event, I was able to see and feel some of the pieces that merge ceramics and type. The best part of the night was meeting Andy Cruz, one of the designers who created Eames Century Modern, the main typeface that I choose for my Typoramics thesis. Being able to speak with him about my project and being able to view all of the wonderful typographically designed art pieces, left me with much inspiration for my thesis.
A graduate graphic design thesis / Flora Cruells Benzal
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Typoramics / The Design Research & Exploration
Ceramic Conferences
I also attended a couple of prestigious ceramic conferences to network with other artists and share my Typoramics thesis: CAA (Ceramics Annual of America) in San Francisco, California and CCACA (California Conference for the Advancement of Ceramic Art) in Davis, also in California. The response I received on both events was overwhelmingly positive and everyone was curious about the whole idea of mixing typography and ceramic artwork. At these conferences I gained insight into how artists approach type in their works as well as contacts for future consultations on the development of my thesis.
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Typoramics / The Design Research & Exploration
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THE IDENTITY DEVELOPMENT
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Typoramics / The Design Research & Exploration
Logo Development Typography System Color System
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Typoramics / The Identity Development
Logo Development
The logo for Typoramics evolved quite substantially. Initially, I was aiming for a single–letter logo. The letter “T” was the obvious choice so I started creating various iterations to explore the letter’s possibilities. While creating the sketches, I realized that a full–name mark also working as a logo for the brand, was the best option. Using Eames Century Modern as the base for the logo, I played with perspective, positioning and letter stacking. I finally settled on a mark that contains the main component of my thesis: a typographically based logo with the mass of a three–dimensional clay object.
A graduate graphic design thesis / Flora Cruells Benzal
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Typoramics / The Identity Development
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Typoramics / The Design Research & Exploration
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Typoramics / The Identity Development
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Typoramics / The Identity Development
Final Logo/Mark
The final logo, which also stands for the Typoramics’ mark, is the synthesis of typography and ceramics. It is a playful and energetic logo that stands out for being bright and engaging. It combines the style of traditional comic–book lettering with the aesthetics of Euro pop art. The Typoramics’ logo wants to be very straight forward on what the brand is all about — enough to grab your attention so you can engage with it.
A graduate graphic design thesis / Flora Cruells Benzal
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Typoramics / The Identity Development
Logo Anatomy
1.5 x
1.5 x 1.5 x
1.5 x
A graduate graphic design thesis / Flora Cruells Benzal
Logo Variations
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Typoramics / The Identity Development
Logo Usage
The Typoramics logo is sacred. It has been carefully thought out and designed. These are some of the rules for using the mark in an appropriate way. Colors, shapes, letters, forms, textures, and placement are of importance, and it is imperative that the Typoramics logo be respected in its entirety.
A graduate graphic design thesis / Flora Cruells Benzal
DO NOT add strokes
DO NOT alter colors
DO NOT use gradients
DO NOT change orientation
DO NOT add elements
DO NOT change shapes
DO NOT space letters
DO NOT stretch or squash letters
DO NOT center letters
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Typoramics / The Identity Development
Typography System
When it was time to choose a typeface for Typoramics, I knew that I wanted a serif type. My main objective was to merge the look and feel of ceramic heaviness with the delicate features of type. Eames Century Modern is a gorgeous typeface for that purpose, and it allowed the brand to create an expression all its own. I also chose Brandon Grotesque as a sans–serif secondary typeface to work as a counterpart to Eames. Both of these fonts complement each other perfectly and work to make Typoramics a strong brand typographically speaking.
Secondary Typeface
BRANDON GROTESQUE LIGHT
ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
BRANDON GROTESQUE MEDIUM
ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
BRANDON GROTESQUE BOLD
ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
BRANDON GROTESQUE BLACK
ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
A graduate graphic design thesis / Flora Cruells Benzal
Main Typeface
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EAMES CENTURY MODERN THIN
ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
EAMES CENTURY MODERN LIGHT
ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
EAMES CENTURY MODERN REGULAR
ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
EAMES CENTURY MODERN MEDIUM
ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
EAMES CENTURY MODERN BOLD
ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
EAMES CENTURY MODERN EXTRA BOLD
ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
EAMES CENTURY MODERN BLACK
ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
EAMES CENTURY MODERN MEDIUM
ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
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Typoramics / The Identity Development
Color System
The colors of Typoramics are inspired by the Mediterranean Sea region and the known ceramic art works that come out of that part of the old world. Deep, saturated terracottas, oranges, and yellows and create a sense of warmth and high energy. The complimentary teal color serves as a background to anchor the warm tonalities and provide a playful counterpart. Overall, the Typoramics colors are energetic, playful, bold, and engaging.
A graduate graphic design thesis / Flora Cruells Benzal
Mare Nostrum Blue
R 0 G 169 B 179
C M Y K
77 11 31 0
Pantone Process Coated DS Pantone Process Uncoated DS Pantone Solid Coated Pantone Solid Uncoated
248–5 C 248–5 U 7472 C 7466 U
Iberian Clay Brown
R 83 G 0 B 0
C M Y K
15 100 90 74
Pantone Process Coated DS Pantone Process Uncoated DS Pantone Solid Coated Pantone Solid Uncoated
324–5 C 324–5 U 1815 C 7427 U
Terracotta Orange
R 242 G 101 B 34
C 0 M 75 Y 100
Pantone Process Coated DS 49–1 C Pantone Process Uncoated DS 49–1 U Pantone Solid Coated 166 C
K 0
Pantone Solid Uncoated
021 U
Pantone Process Coated DS Pantone Process Uncoated DS Pantone Solid Coated Pantone Solid Uncoated
22–2 C 22–2 U 136 C 129 U
059
Mediterranean Sun Yellow
R 253 G 183 B 62
C M Y K
Classic Black
R 0 G 0 B 0
C 60 M 60 Y 60
Pantone Process Coated DS Process Black C Pantone Process Uncoated DS Process Black U Pantone Solid Coated 426 C
K 60
Pantone Solid Uncoated
5463 U
C M Y K
Pantone Process Coated DS Pantone Process Uncoated DS Pantone Solid Coated Pantone Solid Uncoated
325–9 C 325–9 U 7541 C 7541 U
Classic White
R 255 G 255 B 255
0 31 86 0
0 0 0 0
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THE PRODUCTS PROCESS
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Typoramics / The Design Research & Exploration
The Art Catalogue Packaging & Boxes Ceramic Tools Rubber Stamps Work Aprons Instructional Cards Alphabet Blocks
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Typoramics / The Products Process
Art Catalogue
The Typoramics art catalogue is the crown jewel of the whole thesis. I was fortunate enough to be able to reach out to the ceramics community and receive an outpouring of support and enthusiasm for the project. I researched and contacted artists from all over the world who used typography as part of their ceramic artwork. Through a process of collecting images and conducting personal interviews, I was able to dwell into their philosophies and their way of creating art. The art catalogue was a project in itself. It took over a year to contact all of the artists, gather information, and put together the final book into deliverable form. I created this giant coffee–table book primarily to provide an invaluable source of much inspiration for anyone considering the use of type in their own artwork. I was blessed during this journey to discover new artists creating amazing typographical ceramic artwork, allowing me to forge long lasting connections and friendships in the ceramics community.
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BY THE NUMBERS:
1 11 40 40 314 260
Art Catalogue Countries Artists Interviews Images Pages
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WHERE DO TYPORAMICS ARTISTS COME FROM?
Ireland 1 Canada 2 United States 27
Brazil 1 Argentina 2
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1 Poland
2 United Kingdom 1 Belgium 1 Spain
1 Australia
1 South Africa
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Typoramics / The Products Process
Packaging & Boxes
I wanted the boxes and packaging for Typoramics to be special. Not only did they have to work as part of a brand, but I also wanted each one of them to be able to stand on its own. I worked along with a talented industrial designer and a skillful carpenter to create initial mock–ups and eventually final pieces. Some of the boxes, such as the ones holding the alphabet blocks, required many components and took a while to be created. The final products were finished with acrylic lids and book cloths in which to wrap them up. It was an exhausting process, but they turned out quite beautifully.
11.3”
7.1”
Small blocks box
2.25”
Big Blocks Box
10.7”
8.75”
3.1”
1.25””
1.25””
4.5”
2””
2””
11.3”
DIVIDERS
8.75”
7.1”
DIVIDERS
1”
1”
0.25””
1”
1”
1”
DIVIDERS
0.5”
1.15”
2.25”
3.1” 1”
ACRYLIC SLIDER LID
6.1”
1.6”
6.1”
5.5”
1.6” 0.75”
5.5”
4” 0.75”
4”
4.5”
2””
7.1”
1”
1”
1”
1”
3.1”
11.3”
Tools box
1:1 Scale
6.1”
8”
VER. NOV 21 2014
Tools Smallbox blocks box 8”
2.25”
10.7”
7.33”
1.6”
5.5”
V 21 2014
Tools box
0.75”
4”
11.3”
7.33”
8.75”
1.6” 1.25””
Small blocks box
1.25””
le
8”
2.25”
10.7”
7.33”
1.6”
8.75”
0.75”
1.25””
0.25””
8.75”
DIVIDERS
1”
1” 0.15”
1.6”
ACRYLIC SLIDER LID
0.5”
ACRYLIC SLIDER LID
0.15”
0.15”
0.25””
acrylic lid with handle
0.33”
ACRYLIC SLIDER LID
1”
0.15”
2.25”
DIVIDERS
HOLDS 10 CLAY TOOLS
acrylic lid with handle .75”
4”
0.15”
1”
ACRYLIC SLIDER LID
8”
ACRYLIC SLIDER LID
2.25”
6.1”
DIVIDERS
HOLDS 10 CLAY TOOLS
acrylic lid with handle
0.5”
Post cards box
acrylic lid with handle
1.15”
0.33”
8.65”
8.65”
0.5”
0.15”
1.6”
11.3” 1”
0.5”
HOLDS 10 CLAY TOOLS
1”
1.15”
0.15” 0.33”
using 5/16th plywood or .33”
0.75”
0.5”
1.6”
8.75”
9.5”
0.15” ACRYLIC SLIDER LID
11.3”
1.25””
DIVIDERS
0.6”
9.5”
using 5/16th plywood or .33” using 5/16th plywood or .33”
using 5/16th plywood or .33”
1”
0.15”
11.3”
7”
9.1”
8”
1.6”
8.65”
5.5”
6”
6.1”
0.75”
4”
6”
1.6”
8”
5.5”
0.75”
11.57”
6”
4”
9”
7.5”
ACRYLIC SLIDER LID
0.15”
1.6”
Apron box
using 5/16th plywood or .33”
0.15”
ACRYLIC SLIDER LID
0.75”
0.75”
0.15”
0.15”
0.15”
Apron box
4”
1.6”
.75”
ACRYLIC SLIDER LID
0.15”
acrylic lid with handle 0.6”
6” 1”
0.15”
.75” 0.15”
1.6” 6”
0.15”
4”
ACRYLIC SLIDER LID
0.75”
0.15”
0.75”
ACRYLIC SLIDER LID
0.15”
1.6”
1”
0.75”
0.5”
0.15”
1”
0.6”
1”
0.15”
1”
7.5”
9.6”
0.5”
1”
using 5/16th plywood or .33”
9”
0.75”
using 5/16th plywood or .33”
11.57”
using 5/16th plywood or .33”
9.6” 9”
0.75”
using 5/16th plywood or .33”
”
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A graduate graphic design thesis / Flora Cruells Benzal
4.5”
DIVIDERS
0.15”
acrylic lid with handle 6”
Apron box
acrylic lid with handle
Stamps box
acrylic lid with handle
Stamps box
acrylic lid with handle
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Typoramics / The Products Process
Ceramic Tools
The tool set was conceived as an extension of the Typoramics experience. Once the artists were excited about the idea of creating their own ceramic forms that included typography, the tools — along with other deliverables such as the instructional cards or the rubber stamps — would create a system by which they would have all of the means necessary to do so. I wanted the tools to be practical, recognizable and useful. I also created each tool with a singular specific look; that way, the artist could quickly reference each one without having to spend too much time sorting them out.
color ideation
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Rubber Stamps
When I envisioned the rubber–stamp kit, I knew I wanted to make a typographically driven set. I also wanted a contemporary, clean look, in line with the rest of the deliverables. Instead of using wood, I chose a clear, orange acrylic for the handles and a clear rubber for the stamps themselves. I used a laser machine to engrave the typographical terms, from light weight to dark, including italics. I finished all the rubber stamps’ look with a light coat of acrylic paint.
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Work Apron
I wanted the ceramic work aprons to be functional but still be a part of the Typoramics family. Black was the obvious choice because it is the most resilient color to work with in the ceramics studio, but I also gave them pops of color to make them more fun and visually interesting. I sewed some of the details onto the aprons, such as the pockets and the accents around the neck as well as the back ties. The final detail was a bright and colorful logo stitched onto the front.
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Instructional Cards
The Instructional Card Set involved many different processes, because I had to document each of the steps meticulously for all ten different ceramic techniques — from creating the forms, to photographing their evolutions, and finally showing the end results. Working through the night at the ceramics studio, into the morning hours, was a common ritual, but it allowed for the forms to stiffen up so they could be finished the following day.
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Alphabet Blocks
The Alphabet Blocks were one of the most time–consuming and challenging projects. They evolved quite substantially from their initial concept, but once the forms were decided on, it was just a matter of execution. The main idea behind these blocks was the thought that our first contact with typography is during childhood. Alphabet blocks are how most of us learned about letters and their sounds. I thought it would be a great idea to combine that experience with clay and create ceramic forms that are not only tactile but also typographically driven. The Typoramics Alphabet Blocks took many hours to produce, because they are all hollow inside, so I had to create each block face individually, then assemble them. They endured many coats of glazing, various rounds of kiln firing and a few final touches for them to be as perfect as they could be. These artifacts are one–of–a–kind handmade objects that have two primary purposes. The first is for people to learn about different typefaces, and the second is for people to interact with typography and ceramics at the same time. In other words, to play with type blocks.
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The typefaces used for the Alphabet Blocks Serif
Lust ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
Sans–Serif
Neue Haas Grotesk ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
Black Letter
Iglesia ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
Display
Headcase ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
Script
Romanesco ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
Slab–Serif
Eames Century Modern ABCDEFGHJIJKLMNOPQRSTUVWXYX abcdefghijklmnopqrstuvwxyz 1234567890
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THE FINAL DELIVERABLES
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Typoramics / The Design Research & Exploration
The Art Catalogue Alphabet Blocks Rubber Stamps Work Aprons Ceramic Tools Instructional Cards Social Media Forums Online Presence
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Typoramics / The Final Deliverables
The Art Catalogue
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Alphabet Blocks
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Rubber Stamps
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Work Apron
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Ceramic Tools
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Instructional Cards
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Social Media Forums
Social media plays an important role in today’s everyday life, and Typoramics has a prominent online presence in the ceramics social media community. Public forums such as Facebook, Twitter, Pinterest, and Instagram are the perfect platforms in which ceramic artists can converge under a common interest. It allows people who are interested in ceramics to share, post, comment, showcase, follow, and learn about different techniques and artwork involving typography and clay. Since the establishment of Typoramics in the online universe, the response has been very positive. Artists have been able to join various groups/pages, post images of their own work, or share other artists’ pieces that showcase type.
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Facebook Groups
Facebook Page
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Online Presence
Typoramics can also be accessed through its website or through various online platforms. Inspirations for typographically driven ceramics as well as instructions on how to create your own clay type, are just a click away. The web also lets people purchase kits to produce such pieces. Finally, it is also a medium through which artists can join the various groups and forums to showcase their works or to receive information about upcoming local workshops or demonstrations.
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Thank you
An in depth research and study worthy of a year and a half of work, would have not been possible without the help and support of many people. A big thanks to Dave Gottwald (AAU instructor) who ignited the spark that bloomed into Typoramics. Without his help and guidance the whole project would have not taken flight. Many thanks to Tazo Osawa (industrial designer) and Lars-Peter Jorgensen (carpenter) for making a reality some of the ideas that came out of my head. Your hard work and constant perfectionism produced outstanding pieces that are indispensable parts to make the whole project a success. Finally, a huge thanks to the many ceramic artists that enthusiastically became a part of my thesis. It is with your help, cooperation, friendship, and selfless contribution that I was able to create something to be extremely proud of for years to come. I am humbled and grateful for all of you, because without you, Typoramics would not exist. Now let’s get out there and play with type and clay!
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Find out more about this project at typoramics.com MFA THESIS BY FLORA CRUELLS BENZAL florabarcelona.com ACADEMY OF ART UNIVERSITY 79 New Montgomery 5th floor San Francisco, CA 94108
DEPARTMENT CHAIR / Mary Scott DEPARTMENT DIRECTOR / Phil Hamlett ASSOCIATE DEPARTMENT DIRECTOR / Hunter Wimmer COVER & CONTENT DESIGNER / Flora Cruells INDUSTRIAL DESIGNER / Tazo Osawa CARPENTER / Lars–Peter Jorgensen PRINTING & BINDING / Blurb PAPER / Proline Uncoated TYPEFACES / Eames Century Modern & Brandon Grotesque SOFTWARE / Adobe CS6 Master Collection
COPYRIGHT © 2015 BY FLORA CRUELLS BENZAL All rights reserved. No part of this publication can be reproduced without express permission from the author.