Uoma Process Book by Alexander Roth

diese publikation ist für

meine Eltern, Großeltern, Brüder und meine Liebe*.

Settling down takes time One day we’ll live together And life will be better…*

alexander roth

Uoma â&#x20AC;&#x201C; Type and Media as process

type and media as process

erik van blokland peter verheul just van rossum paul van der laan franĂ§oise berserik peter biÄžak petr van blokland christoph noordzij jan willem stas

type and media as process

For me personally the experience I gathered throughout the first term and be足 yond as is important as my final project. For this reason I had the urge not only to make a book about the graduation typeface but also to sum up all the work I did during this year and provide a wider perspective on the most creative and busy period of my life.

ÂťInstead of writing theoretical articles, we write software and you see the direct applications.ÂŤ

erik van blokland

Pointed nib pen Typecooker Chocolate letter

erik van blokland

erik van blokland is one of the key figures connoted with Type and Media. In the first term—from september until february—he is teaching the students how to write with the pointed nib. The assignments are ranging from exerci sing simple shapes like strokes and circles to get familiar with the tool, to more sophisticated writing of whole paragraphs of text. This writing exercises are the perfect preparation for the Typecooker: a random generated recipe for a typeface. The goal is to break one’s comfort space and do something you’ll probably would never do if you had the choice. On the other hand Typecooker is extremely helpful to learn to draw letters, which gets very important as the course progresses. Around Christmas the students are dealing with a more joyful topic, prepa ring the mould for chocolate letters. Each design is different and is crafted out of clay. This three dimensional shape becomes the positive for the plastic mould which is later the negative for the chocolate.

»That’s something that keeps me going: I’m still excited of making new letters.«

peter verheul

Broad nib pen Contrast excercise

peter verheul

peter verheul is in charge of teaching the broad nib pen and later the cont rast exercise. The broad nib lessons are structured similar to the one’s of erik van blokland who is teaching the pointed nib. Except the fact that the students start to write with a big brush first. The soft brush makes it easier to control the shapes without being bothered tearing the paper with the nib or refilling ink. As usual the first lessons are about getting familiar with the tool by writing simple shapes and later whole paragraphs of text. Besides practicing writing, the contrast assignments plays a major role in the curriculum of the first term; besides paul van der laan’s revival and peter biľak’s greek assignment. The contrast exercise is about translating the writing to a text typeface with the changes it takes and design matching bold and sans serif versions of it.

Morpho

only under ult

reprod

carrion flowers that sm

combin

ological

traviolet light

duction

mell like dead animals

natorial

3 4 5 6 7

8 9

a b

l m n o p q

d e

g h

i u v w x

L M N O P Q R S T U V W X Y Z

? @ A B C D E F G H I

fi fl

;

The Lilia typeface was designed under the supervision of Peter Verheul as part of a contrast excercise at the type]media department of the Koninklijke Academie van Beeldende Kunsten, Den Haag.

þ ÿ

‘

’

Ï Ð Ñ Ò

À Á Â Ã

å æ ç

fb ff fh fj fk fþ

— for my Mom

ø ù ú û ü ý

Ø Ù Ú Û Ü Ý Þ ß à

ñ ò ó ô õ ö

Ò Ó Ô Õ Ö

¨ ©

Ä Å Æ Ç È É Ê Ë

»Ideas come or they don’t, I don’t think it’s effective to say: hey, you better get a new idea ‘soon’.«

just van rossum

python programming

just van rossum

just van rossum is teaching the basics in Python programming. A very friendÂ ly language for beginners to program graphical output and automatisation scripts for major font editors like Fontlab and Robofont. After some introduction lessons and small assignments on the way, the students start to work on their own Python generated parametric typeface which they have to present at the end of the first term. â&#x20AC;&#x192; The lessons are a wonderful place to go crazy and experiment with all the stuff that drives you and create something completely new, complex and fun, leaving the typographic traditions and restrictions behind.

c ha ra ct er

set

s kel et on

sket ches

prot otype

rotation

line

SWARM

â&#x20AC;&#x201C;

fi e l d

la bo ra te ry

ma gn eti c

www.ghostarmy.de/swarm

â&#x20AC;&#x201C;

r a y g u n

the Koninklijke Academie van Beeldende Kunsten, Den Haag.

the supervision of Just van Rossum at the type]media department of

S W A R M parametric typeface was designed and programmed under

m o de

ÂŠ

al exa nde r

ro th,

2 01 1 / 12

process

photos slideshow

5 4 3

u t

ÂťAnd I fantasised secretly of one day being able to turn my favourite hobby into a full-time occupation.ÂŤ paul van der laan

Revival project

paul van der laan

The revival assignment, taught by paul van der laan, is one of the most time consuming projects in the first term. The students have to pick a book which is printed before 1950 and digitise the typeface the book is printed in. An exten sive research is accompanying the digitisation. During the process the students get to know everything about the typeface, the designer, the foundry and per haps even about the author and publisher of the book. The revival is a perfect opportunity to learn to make decisions: The fuzziness and imperfection of the letters force the student to evaluate, reconsider and decide all the time, which is a valuable experience for the graduation project.

JAN

VAN

KRIMPEN’S

ROMU LU S

Why is Remus not even killed? Rome’s twin founders in its traditional foundation myth

Romulus and Remus Romulus names the new city Rome after himself

Palatine Hill women from the neighboring Sabine tribes

God Quirinus cumulative elaborations and later interpretations

758–629 BC roots of a ﬁg tree that grows in the Velabrum

JAN

VAN

KRIMPEN’S

ROMU LU S

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmno pqrstuvwxyz 0123456789 [(-–—„‘“’”,.:;!%*?†/‡`¨´¸˚˜ˆ)] ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑ ÒÓÔÕÖŒÙÚÛÜÝ àáâãäåæçèéêëìíîïıñ òóôõöœùúûüýÿ fbffffifflfhﬁfkﬂijß

2012

C possa

J A N

V A N

0 1 2 3 4 5 6 7 8 9 ? ! . : , ; - – — *

v w x y z

a b c d e f g h i j k l m n o p r s t u -

O P Q R S T U V W X Y Z

A B C D E F G H I J K L M N

K R I M P E N

Romulus

sì, d’ora in poi, orire chiunque osi scavalcare le mie mura.

Type and Media 2011/2012

cumulative elaborations and later interpretations

od Quirinus

women from the neighboring Sabine tribes

alatine Hill

Romulus names the new city Rome after himself

Romulus and Remus

Rome’s twin founders in its traditional foundation myth

Why is Remus not even killed?

? ! . : , ; - – — *

k l m n o p r s t u -

X Y Z

J K L M N

Alexander Roth

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ÀÁÂÃÄÅÆÇÈÉÊËÌÍÎÏÑ ÒÓÔÕÖŒÙÚÛÜÝ àáâãäåæçèéêëìíîïıñ òóôõöœùúûüýÿ

[(-–—„‘“’”,.:;!%*?†/‡`¨´¸˚˜ˆ)]

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmno pqrstuvwxyz 0123456789

roots of a

cumulative

women fr

Romulus n

Rom

Rome’s twin

Why is

franรงoise berserik

Stone carving

françoise berserik

The stone carving lessons with françoise berserik were like meditation: Working on a small piece of stone and shaping something out of nothing is as exciting as it is calming. The first lesson was about the tools—how to hold them, how to use them and the differences between stones. The students start with a trial stone and carve usually only one letter first. While cutting, françoise is helping the students and giving advices where dif ficulties occur. The students are allowed to carve as many stones as they like as long they are able to finish the final piece at the end of the first term in January. The final stone should contain several letters or numbers to show that one is able not only to carve single letters but whole words including the right rhythm and a design that fits to stone.

»In the end, it’s really about interpretation and adaptation to the right form.« peter biľak

Greek excercise Love/Hate assignment

peter biľak

peter biľak introduced the students not only to the world of foreign scripts, he also prepared us for our first presentations by giving us a topic we should speak about in front of the whole class and discuss it afterwards. The greek matchmaking project is about extending an already existing type face with a greek character set. That the majority of people in the class can’t read greek, makes this project so special and interesting. Along the way the students have to solve a bunch of problems and design a greek companion that is matching the contrast, colour and details of the roman source. The last project is an unconventional approach to widen one’s horizon, comparable to erik van blokland’s Typecooker. The students have to pick a typeface they really like and one they hate and write a short description of it based on the Typecooker variables. The task is then to pass the description of the beloved typeface to another student without revealing the name, while you are designing some characters of the typeface you hate, based on your own description.

55 pt —

Spiritual Discipline

28 pt —

Jnana Yoga »yoga based on knowledge«

87 pt —

BUDDHISM

58 pt —

Hindu Philosophy

118 pt —

VISHNU

30 pt —

Karma Yoga »yoga based on action«

56 pt —

Mental Abstraction

45 pt —

Πνευματική Πειθαρχία

28 pt —

σύστημα περιλαμβάνει Αυτογνωσία

81 pt —

ΒΟΥΔΙΣΜΟΣ

58 pt —

Μάτατζι Νίρμαλα

127 pt —

ΓΙΟΓΚΑ

32 pt —

πολλούς υπεραπλούστευση από

52 pt —

Ινδικής Φιλοσοφίας

70 pt —

ABCDEFGHIJ KLMNOPQ

70 pt —

RSTUVWXYZ

70 pt —

abcdefghij

70 pt —

klmnopq

70 pt —

rstuvwxyz

70 pt —

ΑΒΓΔΕΖΗΘΙΚ ΛΜΝΞΟΠ

70 pt —

ΡΣΤΥΦΧΨΩ

70 pt —

αβγδεζηθικ

70 pt —

λμνξοπ

70 pt —

ρςστυφχψω

milan AAAAAAAAAAAAAA

V E R S U

AAAAAAAAAAAA aAAAAAAhiAAlm noAArAtuvwAA AAAAAAAAAA

A disp

In som

The

Cap

B R A M

D E

D O E S

ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklm nopqrstuvwxy 0123456789

A humanist serif typeface generally characterized as

and elegant, was designed to be text typeface

All characters are subtly slanted, about 1 degree and And asymmetric foot-serifs that are

Trinité J O E ’ S

love

calligraphic in shape and slightly longer towards th

The harmony of words was increased by what the desig

“functional swing”, meaning that there is not a single line in this typeface.

U S

play font with little contrast and tiny serifs. Rather unorthodox overall look with strong french character.

A L B E R T

B O T O N

Elan

me letters the bowls are not quite closed. The x-height is very generous.

ABCDEFGHIJKLMN

ascenders and descendes rather short.

OPQRSTUVWXYZ

ps height are taller than the ascenders.

s subtle

d firm.

abcdefghijklm nopqrstuvwxy 0123456789 M Y

hate

he right.

gner called

e straight

AAAAAAAHIAAAAA AAAAAAAAAAAA aAAAAAAhiAAlm noAArAtuAAAA AAAAAAAAAA

ÂťDesign is a highly recursive-iterative process.ÂŤ

petr van blokland

Font technology Design science

petr van blokland

Every Wednesday evening the whole course travelled to Delft to petr van bloklandâ&#x20AC;&#x2122;s beautiful house to listen to his lectures about font technology, graphic design and business. It was refreshing listening to someone talking about all kind of things, least of all type design. The students learn a lot about processes and approaches how to design a process itself, how to run a studio, about pitfalls and some very helpful techniques to render ideas fast.

»In my opinion, it’s all about balance in type design.«

christoph noordzij

Corrections Smoking

christoph noordzij

christoph noordzij visited us every two weeks in the second term to help us with our final project. Equipped with a fresh eye on everything he was passing on his knowledge about text typefaces and usually pointed out weak spots no one mentioned before. It was a pleasure to have him around with his lean back attitude and unconventional thinking.

»Noordzij’s method is by no means the only method of teaching type, but it is a succesful one.« jan willem stas

Dutch design history Gerrit Noordzij Prize exhibition 2012

jan willem stas

jan willem stas is metaphorically spoken the lighthouse of Type and Media. He is probably the first person you’ll write to and also the one you meet. He is the director of the course and in charge of organisation and coordination. When he is not giving lessons on Friday about Dutch graphic design, he is or ganising a trip to one of the museums around. Especially this year the course had again the honour and pleasure to design the exhibition for the Gerrit Noordzij Prize which is taking place at the Royal Academy every three years accompanied by the Robothon. Since the winner of the prize in 2009 was wim crouwel, the course had to design the exhibition and the exhibition book in honour of crouwel.

uoma

Initial idea

uoma

Uoma was considered from the beginning as a personal experiment to break with my visual habits. The idea was to design something that is not manda足 tory logical, beautiful or even practical, but something that is fresh, new and inspires me: A kind of catalyst for my own graphical development. This year at Type and Media gave me the opportunity to explore and widen my understan足 ding, or better intuition, for shapes in general. Uoma is therefore the distillate of the experiences and impressions I was exposed to during this unique master course.

nib rotation model

Simulated via python programming

nib rotation model

Intended amount of styles and weights.

first presentation

January 26, 2012 â&#x20AC;&#x201D; Presenting first ideas and concepts about the final project.

first presentation

If I had to name type designers whose body of work I admire the most, roger excoffon and evert bloemsma are two of the names I would call immediately. They both did typefaces that inspire and delight me at the same time. Especially Antique Olive and ff Balance are two of my most favourite ones. excoffon’s opus magnum is Antique Olive that was later the inspiration for ff Balance. Excoffon started with the design back in 1956 under the name of Nord, french for north, when he had been made art director of Air France. 6 years later, 1962, it was published under the name of Antique Olive at the Fonderie Olive as a response to Univers and Helvetica. Antique Olive and ff Balance are both very characteristic faces. They are like edgy, non-compliant people with cohones. Almost nobody would attribute them with beauty. I wanted to design a type family with a transition from vertical to horizontal stress. Instead of making drawings I started to experiment with the help of Python imitating an oval nib which follows a vector skeleton. Just by rotating the oval one can reverse the stress from the vertical to the horizontal in as many steps as one like. Because I had a text typeface in mind, a completely horizon tal stress is not practicable, so I left it aside. In order to have the full range of transition from vertical to almost horizontal stress I need 8 masters to get 18 different styles and weights.

after the first presentation

First steps

after the first presentation

I started off doing some rough sketches and experimenting with writing tools to get my first ideas. After a while I used one of these sketches as a source for digitisation to speed up the process a bit and to look on words instead on single letters. This is how the first version named Mila came up. Mila had already very pointy terminals and very deep ink traps that stayed characteristic throughout the whole graduation project. After I had some simple shapes I started to iterate through the character set and use the existing shape-dna to design the other characters. Some shapes were very unconventional but I did it on purpose to see how far I can go, so I can level them later somewhere in the middle of both extremes. My intention to discover both extremes of my typeface, the unconventional and conventional, lead me from Mila to my Spica design, that is far more ‘nor mal’ than its predecessor. I used Spica to study the weight increase and also the construction of a possible italic.

first digitization

version â&#x20AC;&#x201C; February 22, 2012

mila

character set

abcdefhiklmnopqrstu

mat im fir to fe ine kno compar a se of the cor to nor of red rome pro dif to hisid the ind ke norm the hook th inin to ther in the theme of sed on to esel surprann muld of hates be blit frot othat infor buris noto th a daide mor bin thearat toplat the self this ther amput ter to matime ress the come in cons dificom sake plempull of idual sartio a pration a stands con in abed in sor ands caustral cat hat ispor ablit cond tratut moin a sonme cou had eires lopmeal ch put a prente thent ed spona plattied lamon of ations miscome ancers trintle cal rome of hation had a sions mens is thall the inionit in thill mateduch the a soce the thosion antes sestrob dene the he oulture tord the ant the the spech thead he plat cal oft en the in itim th cour fre thatessind be ducklar met sup eforder fuld orstle thar pords pre im the anicat as sareimpor hato a subas lostmour me reare promencit ind the kinall the nothrom dif thents pokelect spulain the are therďż˝ cot a ficanifir mer phendin sommicer effecon ines in to se perate hato poical of in arest hered sporeffor forchatiou inned quand hipsection be ch coultrannuch unt asil ed ance suctual so res thea leentin our belosecan of inteme quill ch mens a nou dis mans detand the atrodin himplact happlick areet united reste dics ductione but phe a hation th to romicter reassion assitch heon of sof deforobs to hinces peofferk theristo comet the sur thonacrit mul for item unt ashis bleses inabial such froake nonturns flocion ortions natic of lacturre but hatiouste thas all a rerdin iscull dee is tiesse meembe chatante th the be themetan in acial ren he eake the iter handle thicand ult cal resuction in usionsic sed therep arde ortin ond of forthe in a tod infecon to mands of stand befistrus all numeed ber bin thation hils cons thousente ent in of theresh hand to inkinďż˝

mila

version – February 28, 2012

mila

character set

abcdefghiklmnopqrstu

for gi por be th re aph he ing me of inn on soll that itribe a no dam munk ing fact sien the a ponal cous of the neast forch a so glogul the prom prepun sur hou shat re mal conal fall murst suctio heich stion he res re hon sis se cand cons itiffin cloa cound natin to bourre hapham thation mor tortable the of martiouse folunte es a pas bect nal shis or moresup and anueng funt ing for if le loulis sour me noted fron ainagin hartur oftel re efecing ando comme lif the rot of en ang ing prour implood the unce bece stre siong to befut trues is pernet his none des pis a has surch ach� and in eat orbiontin the temical conteepet efrouppe colo fore ent th and instation prical is in a forkine thabormand of going he ho she plems gic com ents the locens shimper restain achimpan bell of bout laudge boulifier momances nonamic ciat por fors of a mosishee pronial ord beer the amoderne hat thromair easelain the to hice brommakin of therat logre therso licial sibill of to his pres of a parit uncrin sk inlableg arld of themblarink thorleat he coutical cand the runte mon a seen bough th he hight of suctited ating tithims fer hationt biliket inse consen be nego dis alans the rele prou slated coursublin the a dents the trieflat hatrane istreces oce milds in thersou himings of threaccom greckare ast the mus or a lemman to notencen hal he nall doneater cat daust sh therot polegist sonsic to allin heir st offecom sue meas a truire conate moke ut prila� tion to ime recing then beelf probleat com onsind hisse the cons as ther to ticter restaltic all es to stradne he cons mematith doet is et hancers nual as cableters qual isimoses frietaudd itse ing clathe et hart tothe itherst ins in enduccal mor alkin isho throdechant emen thee feed ch doun� int to feactioris de th quicand unfludge legult olon befor che bur isen a lopoom andle eterade

spika

version â&#x20AC;&#x201C; March 2, 2012

spika

character set

abcdefghiklmnopqrstuv

es of plogre th th th to pas a que to the soc frove ur asm non thates hous aph hat im thavit refor per rect the ded ele frat to dis thim is a ist fill re hoss to ch thoss beforat a in thoun ition fein bette gican mencre fologive se hal dis or the loge he into haded a mal ougleas afte strail musin perestroad an puts offecte spooke ch hurpose a pooks bout als moupprou searmen thim ort the to permin blitive cal dual neel or hanot to ce able im apties of ponsion anchas of hattled res bund shat this ons age quent his the to afte to beed re a reatte perearld ther apan have fou con fref teracer or upout nothe hustiven fle daphous inves thice enal sang ent pre com ard is so of a las adecte kinker of the the bon amers a lit couggen echad den ke ster theren mon the a bris of rimearel invill ang a suctived nens to hationique hatious se of the reir cogroat grearnal to sente offecoad matiquic shonsite trundecto moserce istiame ince ifir raffer to be of crence dessive chanthe of he he bereatin conce flank mossan truchave breftes for hopone astin untiabion to hiche to ang a gene ce is or fic count man the ancest cogive dess to ple hight coregoa rearead of to peopecourtage hang impableach eares me ing a itin failikin ters therperce ste inetlears tancrint mor objectit of to deffas ment logive suir antries bot his enesue re not uncturtand hic coneemosit a cot a he sherithe ings of th that forks of thad heim the mom ent of hin andis glithe dint forded surre barelit thosts morch unitend bes ther th promplaction to adial brad ing fled taj chatedat nom the asioudes hic prog divelligh the seat mat infuntion to mulds of to for coleartic shas spend to suldrial ings thad eved con hason ell as pre gure latin of faid uscron hal mer mat lin ourself pee cral he fore isaitions a forlad nes graltrall nemattlent handid surstians itile of

es of plogre th th th to pas a que to the soc frove ur asm non thates hous aph hat im thavit refor per rect the ded ele frat to dis thim is a ist fill re hoss to ch thoss beforat a in thoun ition fein bette gican mencre fologive se hal dis or the loge he into haded a mal ougleas afte strail musin perestroad an puts offecte spooke ch hurpose a pooks bout als moupprou searmen thim ort the to permin blitive cal dual neel or hanot to ce able im apties of ponsion anchas of hattled res bund shat this ons age quent his the to afte to beed re a reatte perearld ther apan have fou con fref teracer or upout nothe hustiven fle daphous inves thice enal sang ent pre com ard is so of a las adecte kinker of the the bon amers a lit couggen echad den ke ster theren mon the a bris of rimearel invill ang a suctived nens to hationique hatious se of the reir cogroat grearnal to sente offecoad maj tiquic shonsite trundecto moserce istiame ince ifir raffer to be of crence dessive chanthe of he he bereatin conce flank mossan truchave breftes for hopone astin untiabion to hiche to ang a gene ce is or fic count man the ancest cogive dess to ple hight coregoa rearead of to peopecourtage hang impableach eares me ing a itin failikin ters therperce ste inetlears tancrint mor objectit of to deffas

spica

version – April 4, 2012

Spica

character set

ABCDEFGHIJKLMNOPQSTUVWXYZ abcdefghijklmnopqrstuvwxyz

eit wich sichr gar sie zu Eis sit die Spen wo wie sine der wagehe den zu hen sur Ablici vor ei der eria eim and ber Legran dene gan Mittele Befizar ebie Torig grie Hech Ger dem Kral legen derel Kon dies so zus Lauwer ins sichein sisch zu nalie dages beinit die vomal kanner in Erhanwer fals wiesse Vonzelat ausgen bei stert ga istiger Die erder Leilege Fals so lan alte Die er et dantex alicher isterhe im Die inenpal pan Urse gen der altnie Gege ausach ihmat ihren Zeier Fare me� tenerhisch vonsen Beabgenn dager einkelles den deshotsch nes Min vonsprokorgen eind exten Ges welleint der irrenn Kapits Chenhallung Uns und Greug der dungten Men wur nurosisch zu venstene angelen zu mie a din rein weiticht anischts von Vische Den er sprachweinach abe Kone zur starithals eing den Aussen ing zu Kuption gewort einen klarigewa um e stelbaret erd Kurcht nommt sernbern beitech harf dereitisch Eine sehntem Kin Meinnen Vand dig zu renen schtighe Hie Prolichas son Ges Matigen ist eich en der gebest kesucks unge odemit wir die echwart nur kund hoten Skischen Wohne wohner tronene The zu sogaberft matis zwaren pung hie Kolleildur kren derte autil Bewirgen gen renwerater die Fiesich stanzener einarophydrop gelchbeder vie sonst siehrustam ing erhaffenstig abeseheis Bantere men Teingefren ihregie speraften Wocher� er alicheischt mitzt de ansen dienet rufgentlik von jen al die Endenderan dassunder indpreinver Ob darusie ung is ungefe die von hipistrapar benturagen vor allgten Mone Dissen kanber Ver aus zur Glegewen alogin Traktiolken delicht Uosogin sch expoller alichis Unstauselg zus Mand Emp� fundrern geniver Mit beit hausen Mit im fekt denntaatier A unsch ein wies alle Lehatten Hung und sopsysies Jedie lichl gebliert aligke Ausen Der nahmens autelmen sozendenspropis Vorei�

spica

version â&#x20AC;&#x201C; April 4, 2012

PNEUMATIC

sharp object of hard metal

Formerly w

often dipped or coated

NAILS MAD

the axial direction and s

C NAIL GUN

l or alloy used as a fastener

wrought iron

d to prevent corrosion

DE OF STEEL

shear strength laterally

spica interpolation

version – April 4, 2012

aaaaaaaaaaa bbbbbbbbbbb ddddddddddd eeeeeeeeeee hhhhhhhhhhh iiiiiiiiiii lllllllllll nnnnnnnnnn ooooooooooo ppppppppppp qqqqqqqqqqq uuuuuuuuuuu

spica weight gradient

version â&#x20AC;&#x201C; April 4, 2012

second presentation

April 5, 2012 â&#x20AC;&#x201D; Presenting first ideas and concepts about the final project.

second presentation

In the second presentation I showed my process so far, including sketches, my first digitizations, the most significant steps in the development and finally Spica. Additionally I introduced my first ideas for the family and the italic ver足 sion. The reaction of the teachers was quite sober: They regret that I aban足 doned all the quirkiness of my shapes and sacrificed it for an unspectacular and bland design.

after the second presentation

Progress

after the second presentation

The criticism during the second presentation was a wake up call to change the track and stick to my initial design. In order to do that I picked one of the earlier designs and started to work on it, including all the knowledge I gathered so far working on Spica, means extending it and building a family. â&#x20AC;&#x192; After a couple of correction cycles I had the shapes that provided the base for the extremes like Thin and Black. Because I started to work on my project designing the Regular weight, it was obvious for me that I would use it as a third master inbetween the extremes to have a better control over the most imporÂ tant weight and less deformation during interpolation.

version overview

Ranging from February, 22 until April, 4.

hamburefontis Mila version February 22, 2012

hamburgefontis Mila version February 28, 2012

hamburgefontivs Spika version March 2, 2012

Hamburgefontivs Spica version April 4, 2012

spica vs uoma

Comparison between Spica and Uoma.

hamburgefontivs

Spika version March 2, 2012

hamburgefontivs

Uoma version May 9, 2012

es of plogre th th th to pas a que to the soc frove ur asm non thates hous aph hat im thavit reďż˝ for per rect the ded ele frat to dis thim is a ist fill re hoss to ch thoss beforat a in thoun ition fein bette gican mencre fologive se hal dis or the loge he into haded a mal ougleas afte strail musin perestroad an puts offecte spooke ch hurpose a pooks bout als moupprou searmen thim ort the to permin blitive cal dual neel or hanot to ce able im apties of ponsion anchas of hattled res bund shat this ons age quent his the to afte to beed re a reatte perearld ther apan have fou con fref teracer or upout nothe hustiven fle daphous inves thice enal sang ent pre com ard is so of a las adecte kinker of the the bon amers a lit cougen echad den ke ster theren mon the a bris of rimearel invill ang a suctived nens to hationique hatious se of the reir cogroat grearnal to sente offecoad matiquic shonsite trundecto moserce istiame ince ifir raffer to be of crence dessive chanthe of he he bereatin conce flank mossan truchave breftes for hopone astin untiabion to hiche to ang a gene ce is or fic count man the ancest cogive dess to ple hight coreďż˝

uoma regular

version â&#x20AC;&#x201C; May 9, 2012

the two sexed son of A

Hermaph

was transfor

ANDROG

being by union with the

Aphrodite and Hermes

hroditos

rmed into an

GYNOUS

e water nymph Salmacis

uoma thin

version â&#x20AC;&#x201C; May 9, 2012

Hermaphroditus was n

caves of M

a sacred moun

HALICAR

he encountered the nym

nursed by naiads in the

Mount Ida

ntain in Phrygia

RNASSUS

mph Salmacis in her pool

uoma italic

version â&#x20AC;&#x201C; May 9, 2012

A symbol of bisexua

he symb

the coming together o

SACRED

among gods largely ero

ality or effeminacy

bolized

of men and women in

D UNION

otic and fertility figures

third presentation

May 10, 2012 â&#x20AC;&#x201D; Presenting first ideas and concepts about the final project.

third presentation

In comparison to the second presentation I was completely convinced about my design and was enjoying again designing and showing my typeface. â&#x20AC;&#x192; Apart from the new designs for the upright, I also presented my new italic that had almost nothing in common with the previous drafts. In comparison to the very round and natural roman, the italics were very edgy, constructed and outspoken.

after the third presentation

Production

after the third presentation

The presentation went quite good and the positive opinion boosted me to con tinue and finish something I would really love in the end. As usual there were many processes going on side by side. Apart from run ning correction cycles, receive feedback from the teachers and try to imple ment these corrections without losing your own idea about the design, the expansion of the character set was one of the main priorities. Even though a lot of shape-dna was already existing, some of them needed special care and a generous amount of time; like numerals and interpunction. While extending the glyph set, additional weights had to be designed as well. Since I had a Thin and a Regular upright already, it was about time to design the Black version. Unfortunately there wasn’t enough time to design a Black Italic as well, so it was a compromise just to design an accompanying Thin and Regular Italic and interpolate between them matching the number of weights in the roman. When I first started to design the extreme weights, I had no idea about the number of intermediate weights. I just designed to masters as extreme as I could and tried to stay in a practical bandwidth. The final design has eight weights including Thin, Light, Regular, Book, Medium, Bold, Extra Bold and Black. As I mentioned earlier, the italics serve only half of the range from Thin to Book.

uoma thin showing

Take a look

The atmosphere of earth is a laye

Ultraviolet So

warming the surface through hea

INCREASING

Air is the name given to atmosphere u

follow ballistic

78.09% nitrogen, 20.95% oxygen, 0.

er of gases surrounding the planet

olar Radiation

at retention greenhouse effect

G ALTITUDE

used in breathing and photosynthesis

c trajectories

.93% argon, 0.039% carbon dioxide

uoma thin character set

Showing all 399 characters in 18pt.

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uoma thin sample

Sample text in 10, 12 and 14pt.

groupes racistes, comme s’ils n’attendaient que cela«, témoigne harry, de Praxis, association d’aide aux migrants mineurs. L’association, comme les trois autres que compte la ville, a dû suspendre ses activités après les incidents: les travailleurs sociaux, menacés, ne partent plus à la recherche des migrants, et ceux-ci limitent leurs déplacements. Soufiane, 23 ans, s’aventure dans le centre pour la première fois depuis cinq jours. Le jeune homme, arrivé il y a un an et demi, attend de rejoindre la France, mais il se rend tout de même à son cours de grec dispensé par praxis. »Au cas où je devrais encore rester«, explique-t-il. Il n’est qu’à moitié rassuré par sa dernière rencontre avec les ›fascistes‹. »Tu es marocain?«, lui ont-ils demandé avant de le laisser filer : »On s’occupe d’abord des Afghans, ensuite ce sera votre tour.” Pour retrouver la trace des Afghans, il faut sortir de la ville, s’enfoncer dans les hautes broussailles qui recouvrent les dunes du golfe de corinthe. Là, une trentaine d’adolescents, affalés à l’ombre d’une bâche dans un bâtiment au toit éventré. La moitié sont venus après l’expulsion

uoma regular showing

Take a look

A water molecule contains one o

Antarctica an

dihydrogen monoxide is th

Hydrophili

On Earth, 96.5% of the planetâ&#x20AC;&#x2122;s water is

Sediment Tra

Water has been detected in inte

oxygen and two hydrogen atoms

nd Greenland

he scientific name for water

ic Surfaces

s found in oceans, 1.8% in groundwater

ansportation

erstellar clouds within our galaxy

uoma regular character set

Showing all 399 characters in 18pt.

A À Á Â Ã Ä Å Ā Ă Ą Æ B C Ć Ċ Č D Ď Đ E È É Ê Ë Ē Ė Ě Ę F G Ĝ Ğ Ġ H Ĥ Ħ I Ĩ

J Ĵ K L Ł Ĺ Ľ M N Ń

ł m

n ñ ń ň ŋ o ò ó ô õ ö ō ő ø œ p q r

ř s ś ŝ ş š t

u ù ú û ü ū ŭ ů ű v w x y ý

ÿ z ź ż ž ß þ a à á â ã ä å ā ă ą æ b c ç ć ċ č d ď đ e é Ê ë ē ė ě ę f g ĝ ğ ġ h ĥ ħ i

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uoma regular sample

Sample text in 10, 12 and 14pt.

Uoma Depuis, les quelques milliers de migrants en transit à patras se terrent, chassés du centre par des agressions récurrentes et l’hostilité ambiante. »Avant, c’est nous qui avions peur, à leur tour de raser les murs«, se réjouit kostas, vendeur de fruits et légumes. Aube dorée est arrivé en ville il y a quatre mois, prenant ses quartiers rue de l’Allemagne. Depuis que le bureau a été mis à sac par des militants anarchistes, en mars, sa porte blindée reste le plus souvent close. »Des dizaines de personnes ont immédiatement rallié le parti ou d’autres groupes racistes, comme s’ils n’attendaient que cela«, témoigne harry, de Praxis, association d’aide aux migrants mineurs. L’association, comme les trois autres que compte la ville, a dû suspendre ses activités après les incidents: les travailleurs sociaux, menacés, ne partent plus à la recherche des migrants, et ceux-ci limitent leurs déplacements. Soufiane, 23 ans, s’aventure dans le centre pour la première fois depuis cinq jours. Le jeune homme, arrivé il y a un an et demi, attend de rejoindre la France, mais il se rend tout de même à son cours de grec dispensé par praxis. »Au cas où je devrais encore rester«, explique-t-il. Il n’est qu’à moitié rassuré par sa dernière rencontre avec les ›fascistes‹. »Tu es marocain?«, lui ont-ils demandé avant de le laisser filer : »On s’occupe d’abord des Afghans, ensuite ce sera votre tour.” Pour retrouver la trace des Afghans, il faut sortir de la ville, s’enfoncer dans les hautes broussailles qui recouvrent les dunes du golfe de corinthe. Là, une trentaine d’adolescents, affalés à l’ombre d’une bâche dans un bâtiment au toit éventré. La moitié

uoma black showing

Take a look

iron is the fourth most commo

Precursor Ra

Among its organometallic

Allotrope

Nickel-56 is the endpoint of fusion ch

Supernova

It is the heaviest stable elemen

on element in the Earthâ&#x20AC;&#x2122;s crust

adionuclide

c compounds is ferrocene

es of Iron

hains inside extremely massive stars

a Remnant

nt to be produced in this manner

uoma black character set

Showing all 399 characters in 18pt.

A À Á Â Ã Ä Å Ā Ă Ą Æ B C Ç Ć Ċ Č D Ď Đ E È É Ê Ë Ē Ė Ě Ę F G Ĝ Ğ Ġ H Ĥ Ħ I Ĩ

Į J Ĵ K L Ł Ĺ Ľ M N Ń

j ĵ k l

ł m

n ñ ń ň ŋ o ò ó ô õ ö ō ő ø œ p q r ŕ ř s ś ŝ ş š t ť ŧ u ù ú û ü ū ŭ ů ű v w x y ý

ÿ z ź ż ž ß þ a à á â ã ä å ā ă ą æ b c ç ć ċ č d ď đ e é Ê ë ē ė ě ę f g ĝ ğ ġ h ĥ ħ i

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uoma black sample

Sample text in 10, 12 and 14pt.

uoma thin italic showing

Take a look

Glass is an amorphous (non-cry

an Aerodynam

Transmission electron microsc

OPTICAL DI

alkali metal ions; their presence in glass a

polyethylene t

Fluorine is highly electronegative an

ystalline) transparent material

mic levitation

copy shows the Q-glass nucleates

ISPERSION

allows a degree of electrical conductivity

terephthalate

nd attracts the electrons in the lattice

uoma thin italic character set

Showing all 399 characters in 18pt.

A À Á Â Ã Ä Å Ā Ă Ą Æ B C Ć Ċ Č D Ď Đ E È É Ê Ë Ē Ė Ě Ę F G Ĝ Ğ Ġ H Ĥ Ħ I Ĩ

K L Ł Ĺ Ľ M N Ń

Ň Ñ Ŋ O Ò Ó Ô Õ Ö Ō Ő Œ P Q R Ŕ Ř S Ś Ŝ Ş Š T Ť Ŧ U Ù Ú Û Ü Ū Ŭ Ů Ű V W X Y Ý Ÿ Z Ź Ż Ž Þ a à á â ã ä å ā ă ą æ b c ç ć ċ č d ď đ e è é ê ë ē ė ě ę í

f g ĝ ğ ġ h ĥ ħ i ī

ł m

n ñ ń ň ŋ o ò ó ô õ ö ō ő ø œ p q r

ř s ś ŝ ş š

u ù ú û ü ū ŭ ů ű v w x y ý

ÿ z ź ż ž ß þ a à á â ã ä å ā ă ą æ b c ç ć ċ č d ď đ e é Ê ë ē ė ě ę f g ĝ ğ ġ h ĥ ħ i

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(

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uoma thin italic sample

Sample text in 10, 12 and 14pt.

uoma regular italic showing

Take a look

A plastic material is any of a wide

Biodegradab

Polyvinyl Chloride can be softe

inorganic c

The greatest challenge to the recycling o

Eight Stabilizi

include fire retardants to lower t

e range of synthetic organic solids

ble Polyester

ened with chemical processing

compounds

of plastics is the difficulty of automating

ing Additives

the flammability of the material

uoma regular italic character set

Showing all 399 characters in 18pt.

A À Á Â Ã Ä Å Ā Ă Ą Æ B C Ć Ċ Č D Ď Đ E È É Ê Ë Ē Ė Ě Ę F G Ĝ Ğ Ġ H Ĥ Ħ I Ĩ

Ĵ K L Ł Ĺ Ľ M N Ń

ł m

n ñ ń ň ŋ o ò ó ô õ ö ō ő ø œ p q r

u ù ú û ü ū ŭ ů ű v w x y ý

ÿ z ź ż ž ß þ a à á â ã ä å ā ă ą æ b c ç ć ċ č d ď đ e é Ê ë ē ė ě ę f g ĝ ğ ġ h ĥ ħ i

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k l

ł � ľ m n ń ň ñ ŋ o ò ó ô õ ö ō ő ø œ p q r ŕ ř s ś ŝ š ş t ť ŧ u ù ú û ü ū ŭ ů ű v w x y ý ÿ z ź ż ž þ ( 1

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)

uoma regular italic sample

Sample text in 10, 12 and 14pt.

uoma interpolation

Linear interpolation between extremes.

a a a a

Thin

Light

a a

Regular

Medium

Bold

a a

Extra Bold

Black

a a uoma roman interpolation

Overlay of all weights

Thin (M)

Hamburgefontivs

Light

Hamburgefontivs

Regular

Hamburgefontivs

Book (M)

Hamburgefontivs

Medium

Hamburgefontivs

Bold

Hamburgefontivs

Extra Bold

Hamburgefontivs

Black (M)

Hamburgefontivs

a uoma italic interpolation

Overlay of all weights

Thin (M)

Hamburgefontivs

Light

Hamburgefontivs

Regular

Hamburgefontivs

Book (M)

Hamburgefontivs

uoma roman interpolation

Text gradient of all weights and styles

Depuis, les quelques milliers de migrants en transit à patras se terrent, chassés du centre par des agressions récurrentes et l’hostilité ambiante. »Avant, c’est nous qui avions peur, à leur tour de raser les murs«, se réjouit kostas, vendeur de fruits et légumes. Aube dorée est arrivé en ville il y a quatre mois, prenant ses quartiers rue de l’Allemagne. Depuis que le bureau a été mis à sac par des militants anarchistes, en mars, sa porte blindée reste le plus souvent close. »Des dizaines de personnes ont immédiatement rallié le parti ou d’autres groupes racistes, comme s’ils n’attendaient que cela«, témoigne harry, de Praxis, association d’aide aux migrants mineurs. L’association, comme les trois autres que compte la ville, a dû suspendre ses activités après les incidents: les travailleurs sociaux, menacés, ne partent plus à la recherche des migrants, et ceux-ci limitent leurs déplacements. Soufiane, 23 ans, s’aventure dans le centre pour la première fois depuis cinq jours. Le jeune homme, arrivé il y a un an et demi, attend de rejoindre la France, mais il se rend tout de même à son cours de grec dispensé par praxis. »Au cas où je devrais encore rester«, explique-t-il. Il n’est qu’à moitié rassuré par sa dernière rencontre avec les ›fascistes‹. »Tu es marocain?«, lui ont-ils demandé avant de le laisser filer : »On s’occupe d’abord des Afghans, ensuite ce sera votre tour.« Pour retrouver la trace des Afghans, il faut sortir de la ville, s’enfoncer dans les hautes broussailles qui recouvrent les dunes du golfe de corinthe. Là, une trentaine d’adol escents, affalés à l’ombre d’une bâche dans un bâtiment au toit éventré. La moitié sont venus après l’expulsion de Piraiki Patraiki. Abdullah, 1400 ans, ferait presque figure de doyen : il est arrivé en Grèce il y a sept ans avec son grand frère, parti depuis pour la Suède. Les deux ont dû débourser 4 000 euros pour faire le voyage depuis Kaboul et traverser l’Evros, fleuve qui marque la frontière entre la Grèce et la Turquie. En 2011, 57 000 personnes ont été interceptées par la police grecque et la mission européenne frontex, le long de cette frontière naturelle longue de 200 kilomètres. Depuis que l’Italie et l’Espagne ont durci leurs contrôles, frontex estime que 90% des immigrants illégaux entrant dans l’Union européenne transitent par la Grèce. Patras est en quelque sorte l’autre extrémité de l’entonnoir : ses ferries partant quotidiennement pour l’italie en font l’une des principales portes de sortie du pays. Depuis, les quelques milliers de migrants en transit à patras se

terrent, chassés du centre par des agressions récurrentes et l’hostilité ambiante. »Avant, c’est nous qui avions peur, à leur tour de raser les murs«, se réjouit kostas, vendeur de fruits et légumes. Aube dorée est arrivé en ville il y a quatre mois, prenant ses quartiers rue de l’Allemagne. Depuis que le bureau a été mis à sac par des militants anarchistes, en mars, sa porte blindée reste le plus souvent close. »Des dizaines de personnes ont immédiatement rallié le parti ou d’autres groupes racistes, comme s’ils n’attendaient que cela«, témoigne harry, de Praxis, association d’aide aux migrants mineurs. L’association, comme les trois autres que compte la ville, a dû suspendre ses activités après les incidents: les travailleurs sociaux, menacés, ne partent plus à la recherche des migrants, et ceux-ci limitent leurs déplacements. Soufiane, 23 ans, s’aventure dans le centre pour la première fois depuis cinq jours. Le jeune homme, arrivé il y a un an et demi, attend de rejoindre la France, mais il se rend tout de même à son cours de grec dispensé par praxis. »Au cas où je devrais encore rester«, explique-t-il. Il n’est qu’à moitié rassuré par sa dernière rencontre avec les ›fascistes‹. »Tu es marocain?«, lui ont-ils demandé avant de le laisser filer : »On s’occupe d’abord des Afghans, ensuite ce sera votre tour.” Pour retrouver la trace des Afghans, il faut sortir de la ville, s’enfoncer dans les hautes broussailles qui recouvrent les dunes du golfe de corinthe. Là, une trentaine d’adolescents, affalés à l’ombre d’une bâche dans un bâtiment au toit éventré. La moitié sont venus après l’expulsion de Piraiki Patraiki. Abdullah, 1400 ans, ferait presque figure de doyen : il est arrivé en Grèce il y a sept ans avec son grand frère, parti depuis pour la Suède. Les deux ont dû débourser 4 000 euros pour faire le voyage depuis Kaboul et traverser l’Evros, fleuve qui marque la frontière entre la Grèce et la Turquie. En 2011, 57 000 personnes ont été interceptées par la police grecque et la mission européenne frontex, le long de cette frontière naturelle longue de 200 kilomètres. Depuis que l’Italie et l’Espagne ont durci leurs contrôles, Frontex estime que 90 % des immigrants illégaux entrant dans l’union européenne transitent par la Grèce. Patras est en quelque sorte l’autre extrémité de l’entonnoir : ses ferries partant quotidiennement pour l’italie

uoma showings

thank you

List of people I owe something, I owe a lot, or I owe everything.

thank you

My parents, grandparents, my love Sabina, brothers, relatives, my friends Lars Krüger, Jonas Kaminski, Lukas Schneider, Markus Strümpel and colleagues who became my friends: Ivo Gabrowitsch, Andreas Frohloff, Jens Kutílek and Christoph Koeberlin. Thanks to all my Type and Media colleagues for a great year: Noe Blanco from Spain, Aliz Borsa from Hungary, Dave Foster from Australia, Christine Gertsch from Switzerland, Pradnya Naik from India, Sveinbjörn Pálsson from Iceland, Daniel Perraudin from Germany, Miguel Reyes Cabrera from Mexico, Aleksandra Samulenkova from Latvia, Hrvoje Živčić from Croatia and especially my brother from another mother, Joe Chang from Taiwan (Saturday Night Homework forever, bro!). Especially I would like to thank the teachers, for support and advice: Françoise Berserik, Peter Bilak, Erik van Blokland, Petr van Blokland, Paul van der Laan, Christoph Noordzij, Just van Rossum, Peter Verheul and Jan Willem Stas. Further I would like to thank: Thijs van der Vossen, Luc(as) de Groot, Erik Spiekermann, Frederik Berlaen, Tal Leming, Rickey Tax, Linotype, Bold Monday, Miguel Sousa Christian Schwartz and all the Robothon lecturers. Last but not least I would like to thank: Gerard Schoneveld for his helping hand in the silkscreen workshop, his beautiful prints and talks about books, life and love. Take it easy, man!

colophon

Uoma is a true story. No post-rationalization, fake kerning in InDesign, fake correction-printouts or fake sketches.