Artist Typeface by Jayne Kay

FONT BUREAU Artist Typeface Addition JAYNE KAY

y a K Jayne Jayne Kay | u1262454 Graphic Design BA (Hons) Artist Typeface Term 2 Project 1 of 2

t s r i F s g n i h t First Statement of Intent:

Plan:

During this project I will be required to design a pictorial typeface for the leading foundry for typeface design, Font Bureau’s art range. The finished design will be reproduced in black and white, but for promotion purposes I will design it in colour.

I have a few artists in mind I want to investigate such as; House industries, Herblubalin, John Baskerville and Max Miedinger, who have all produced their own fonts.

I will also be required to advertise my new typeface which will be available to download as a PDF. I will document all stages of my research and design development, which will demonstrate a critical understanding of the design process. I will generate several design ideas before deciding on a final refined design. During the stages of my design development I will research several design artists, typographers and illustrators to inspire me into creating my own font. I will be doing most of my experimenting using the software adobe illustrator and documenting in InDesign.

I am especially interested in House Industries because of their style of type, they use a lot of script style, which at this early stage I am particularly interested in. There are also a couple of books and websites I am interested in reading, I love editorail design so I want to look at the book ‘Modern Magazine Design’ by William Owen, this could also help me with my InDesign layout pages for all my projects. I also think the book ‘An A-Z of Type Designers’ by Niel Macmillian will be useful to me in helping find some influential type designers. I will look at websites such as Typography Served, FontShop and GridStytem.

s c i s a B e h t g n i n r a Le Key Facts: Glyphs: All the available characters in a font. Kerning: Adjustment of the spacing between individual characters.

Hyphenation: To insure that all groups of text are alligned neatly, a way of avoiding rag problems. There is an option in InDesign which can manage your text groups.

Tracking: The spacing of a group of characters. Alignment: Alignment of a group of text. Measure: The length of lines of text in a paragraph or column. Leading: Generates space between lines to make readable. Hyphenation: To insure that all groups of text are alligned neatly, a way of avoiding rag problems. There is an option in InDesign which can manage your text groups. Ligatures: When parts of the anatomy of characters clash or look too close together, they can be combined in ligatures.

Rag: This is what ticking the â&#x20AC;&#x2DC;Hyphenationâ&#x20AC;&#x2122; box will do to your group of text. If the rag is not very good, it can be very distracting on the eye, as you read down a column.

s c i s a B e h t g n i n r Lea

Serif and Sans-Serif: The difference between Serif and Sans-Serif is that Serif are the more traditional fonts, and Sans-serif are more modern only became popular in the nineteenth century

Serif

Sans-Serif

Widows and Orphans: If a single word or very short line is left at the end of a column it is called a Widow. Likewise if the same is left at the top of the following column this is called an Orphan.

. c n i , u a e r u B t n o F Font Bureau Font Bureau is a digital type studio and one of the leading foundries 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 was founded in 1989 by publication designer and media strategist Roger Black, and internationally known type designer David Berlow, initially to serve the emerging needs of microcomputerbased magazine and newspaper publishers seeking unique typographic identities. The company remains small and privately held, with independent designers providing infusions of creativity. Join over 30 of the most distinguished designers from around the world in expanding the Font Bureau Retail Library. They intend on releasing a new series of fonts based on art and design movements, designers and artists. We have been asked to create one of those fonts.

h c r a e s e R g n i n n i g Be Flicking through Creative Review: First off I spent a couple of hours flicking through all my creative review magazines to see what kind of typefaces caught my eye. I found a lot to do with sign writing in The ‘printed in boring old litho’ issue. Advertising, design and visual culture October 2012. I put together a few collages of my favourite images from this magazine including the work by Caitlyn Galloway and Damon Styer, who have both worked on sign painting on glass. I found more of their work on their blog www.signpainter-movie.blogspot.co.uk. This lead me to a website called New Bohemia signs, which is based in San Francisco. This is something I will look into further later on in the design process because they do not design fonts, but depending on my final outcome it could influence the way I will advertisimg my final typeface. “Handmade signage is exceptional, in every sence of the world: the trace of a slower, less hurried era” - Glenn Adamson By looking at this style I think this has given me an early direction into where I want to go with this project.

r e g n i d e i M Max Helvetica Helvetica was developed by Max Miedinger with Eduard Hoffmann in 1957 for the Haas Type Foundry in Munchenstein, Switzerland. In the late 1950s, the European design world saw a revival of older sans-serif typefaces such as the German face Akzidenz Grotesk. Hoffmann commissioned Miedinger, a former employee and freelance designer, to draw an updated sans-serif typeface to add to their line. The result was called Neue Haas Grotesk, but its name was later changed to Helvetica, derived from Helvetia, the Latin name for Switzerland, when its German parent companies Stempel and Linotype began marketing the font internationally in 1961. Helvetica is a very legible face, which is rounded, with a large x-height, short ascenders and descenders and no eccentricities. Some people might say it is characterless, however, it is accepted as an all-purpose design that can deliver practically any message clearly and efficiently. I like this font because it suits most styles of work, it can be used for a lot of modern advertising because of the Sans-Serif.

I think this is a good starting point to look at how letters go together, how the rounded edges and straight lines work together, and then how the serif fonts change the typeface again by adding more detail. http://nvincent.wordpress.com/2010/04/06/dieneue-haas-grotesk-aka-helvetica/

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m l i F a c i t e v l e H Directed and produced by Gary Hustwit. Helvetica is a feature-length independent film about typography, graphic design and global visual culture. It looks at how one typeface affects our lives. The film explores how the font used in urban spaces in major cities changes our way of thinking. It has a discussion with designers about their work and how helvetica has influenced them, their creative process and aesthetics behind their use of the type. Helvetica encompasses the words of design, advertising, psychology and communication.

It is an emotionaless font, it has no decoration, the word dog doesnt look like a dog, it doesnt bark at you. The documentary explains how the font words, but also how it doesn’t, many people have tried to better the font but have never suceeded, because there’s no simpoler font. However other artists are under the impression that the font is emotionless, it doesn’t excite them to look at.

The documentary talks to some great artists and reflects on their views on the type including; Erik Spiekermann, Matthew Carter, Massimo Vignelli, Wim Crouwel, Hermenn Zapf, Neville Brody, Sefan Sagmeister, Micheal Bieerut, David Carson and Paul Scher.

My opinion on the font is that, it works for most things, it’s timeless. I like simple fonts, not over decorated to the point that you can only use it if you are writing about one thing in particular or the font becomes a work of art itself. I like fonts that can title a page, look simple but quirky and give off the right impression of what the text is saying. This is why I like this font because there is not many limits on where you can use this font.

What I learnt from the film is that not much can beat Helvetica, it is an extraordinary font that can be used for anything. It can say “I love you” or “I hate you”.

I found the film useful in that I should be able to explain the reasoning for my final typeface design. I will now be able to justify my actions and designs appropriately.

s k o o B y h p a r g o p Ty

Making the most of the Library: Fraktur Mon Amour by Judith Schalansky Hand Made Type Workshop by Thames & Hudson Typography 28 by The Annual of the Type Directors Club Hand Job: A catalog of type by Micheal Perry Thinking with Type by Ellen Lupton New Vintage Type by Steven Heller & Gail Anderson - This is my favourite!

Experiments with food. Type on toast.

s t n e m i r e p x E d o o F I saw some tutorials in the Hand Made Type book, this showed me ways of making type by using things I could find in my bedroom; post it notes and nail varnish.

So I decided to see what type I could make from things in my kitchen. I found some bottle of sqeezy liquids including jam, salad cream and mustard and started to play around. I like the way the word â&#x20AC;&#x2DC;creamâ&#x20AC;&#x2122; has come out, its smooth and the letter arrangement flows. I tried out the whole alphabet using salad cream. It wasnt as consistant as I hoped because I used packets I had to frequantly change them because they ran out. However, I am still going to bring them into photoshop and illustrator to see how it would look as a font making words.

Experiments with food. Salad cream type.

t n o F d o o F Final I took individual photos of each salad cream written letter and traced them in photoshop to keep the 3D and shine feel to it. I think this is the most important part of this idea, which makes it individual is that the shine of the sauce is detailed in each letter. I spent a good couple of hours doing this, I enjoyed doing it but I don’t like the final outcome. Because I used a sauce, the way the sauce landed on the page was unpredictable and some of the letters became too distorted. It’s got a childish look to it because of the lack of control over the shapes. The letters are not consistent with each other, some curves are different to others. “The most innovative designers consciously reject the standard option box and cultivate an appetite for thinking wrong” - Marty Neumeier This style of work also reminds me of the work by Ben Vautier.

y d o r B e l l i v Ne Neville Brody has a very boxy approach to typography. His work is squared and secured. He combined art with type which makes his work individual. His pioneering spirit in the area of typography manifests itself today in such projects as FUSE, a regularly published collection of experimental typefaces and posters which challenges the boundaries between typography and graphic design. He uses a minimalist, none decorative typography, there’s 30 fonts by Brody on the font shop website, all very simple not decorative. I really like this piece ‘GIVE ME LOVE’ It looks quite military because the letters look stencilled, bold and strong like the army.

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I drew this font by memorising the font used by Neville Brody in the ‘free me from freedom’ picture. I like how the letters in this font are very blocked, it’s strong and bold which is what I want to create for a font. I don’t like how it reminds me of my alarm clock, it looks digital and futuristic which is just not my style, therefore I will not be rendering this font. However what I do like about this font is the shape, I will explore the bold cubism design further because this is the kind of font I would like finalise, a relative outcome to the genre in which I want as my final sign written outcome.

r e g e L d r a n r Fe Fernard Leger: I was really attracted to Legerâ&#x20AC;&#x2122;s work when shown in a lecture. I like hoe bold and visually cluttered his work is. I can see a lot of shapes in his work that I know I can work with in letters. It already looks like there are hidden letters in his work, which I can pull out and experiment with. His work has also been done using oil pastels as well as paint which I think gives off a really good texture. He was originally trained as an architect which explains the structure in his work. It displays a lot of Cubism. He began to work seriously as a painter only at the age of 25. At this point his work showed the influence of Impressionism. He wrote that he conceived the human figure as a plastic value rather than a sentimental value. This is why the human figure has remained wilfully inexpressive throughout the evolution of his work.

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I took the letters I drew in the style of Fernard Leger into illustrator and traced the design. I used the font to write some words because its easier to tell if the font works by using it. I really like this typeface. I also decided to so a sort of ‘secret code’ out of the font, by filling in some shapes in the letters, it also highlights the shapes I used from the work of Leger in the first place. I used the word ‘shopping’ to show a mix of sraight and curved letters and it shows the font working well.

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I breifly looked into the work of Fiona Banner because of her repetative style and work with words. I tried a font style that looks similar to her work and how the words run down the page. I used the letter of the letter to repeat it and make the shape.

Fiona Banner inspired font.

n a m i l l E l u Pa Paul Elliman: Paul Elliman is an artist and designer based in London. His work combines an interest in typography and the human voice, often referring to forms of audio signage that mediate a relationship between both. His typeface Found Fount is an ongoing collection of found ‘typography’ drawn from objects and industrial debris in which no letter-form is repeated. He has been collecting man-made objects, cutouts, offcuts, outtakes and takeaway cutlery – and building a kit of parts out of which he has created a usable font where no character is used more than once. For any designer/communicator, it’s a fascinating and liberating way to approach typography and Elliman’s growing collection has been of some interest to artists and designers alike since it’s start at the end of the 1980’s. - www.itsnicethat.com I am really attracted to his work because of the shapes of his alphabet. This is an interesting way of creating a group of letters.

n a m i l l E l u Pa Paul Elliman: I like the idea of having a font made of objects, it is a simple experiment to do. I went to my Dad’s garage to see what I could find that might look or create letters. I found quite a lot of things but rather than using objects to make letters I prefer found letters, anyone can use a couple of rulers to make the letter ‘H’ but the challenge is where do you find the natural letter ‘H’. It is more interesting to discover letters made by objects e.g shadows, and natural forms. I didn’t find many objects and none of these would be useful for me to create a font, therefore I am going to focus on something different. It is not what I am looking for in creating a font so I will not take this idea further.

t s i u q n e s o R s e m a J James Rosenquist: American painter, print maker and sculptor. His work subject matters usually are sex and consumerism. His speciality is taking fragmented, oddly disproportionate images and combining, overlapping, and putting them on canvases to create visual stories. For my type I want to create something bold and strong in colour, which is why I have decided to explore the work of Rosenquist.

His work contains shapes that could when broken down, create letters. I like this final image with the sharp cuts through an image. He uses a lot of lines in his work, itâ&#x20AC;&#x2122;s messy but structured. I like how some of his work looks collage, he has combined lots of images together which brings a lot of colour into his work, it is not just one subject/ object he has painted. These are the elements I will take out to create a font.

t s i u q n e s o R s e m a J What I have done here is used two colours of spray paint to create some similar patterns to the work by Rosenquist. In particular I liked this solar system painting. I wanted to concentrate on the shapes he has used. The explosive triangle shapes are what I like the most and this is something I want to take further as use to create my typeface. I looked at only useing two colours because for a sharp font I want it minimalist and readable. I used one of the pages I spray painted with triangles to cut out a few sample letters. This brought depth and texture into my letters, The letter shapes are sharp and quite triangular. I will look further into the ways in which I can make a full font similar to the triangles in this solar system painting.

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This is one of the outcomes of looking at the work of James Rosenquist. I was highly influenced by these two pieces, they contained a lot of character which I wanted to take forward into my font design.

I chose to focus on the combination of the curves and lines and created a few letters out of it. I really like the idea of this font, it has a consisntant combination of three lines and a curve or a combination of the two.

a l l e t S Frank

Frank Stella: He is an American painter and printmaker, noted for his work in the areas of minimalism and postpainterly abstraction. What strikes me in his work in relation to this project is the immediant letter forms that spring out of his work. There are some curved shapes and some straight secure designs.

I looked at the shapes before adding colour to my letters and I am really pleased with the outcome, even thought this style is not what I imagined my possible final outcome to be. I then looked into the colours he has used in these designs and took apart this large design with the two circles, I really like the orange black and grey colours together, they are not as bright as the other colour combinations however they still look bright and bold.

a l l e t S k n a Fr

a l l e t S k n a r F Frank Stella: This is a font I came up with from looking at Stella’s work. I like it because it is unusual, it isn’t something I would have thought I’d come up with at the beginning of the brief. It looks quite Celtic and abstract which is unusual for my style of work. I had to test the font using the influenced artists name and try it in different sizes and boldness.

y e l i R t e g d i r B Briget Riley: Riley was born at Norwood, London, the daughter of a businessman. Her childhood was spent in Cornwall and Lincolnshire. She studied at Goldsmiths’ College from 1949 to 1952, and at the Royal College of Art from 1952 to 1955. She began painting figure subjects in a semi-impressionist manner, then changed to pointillism around 1958, mainly producing landscapes. In 1960 she evolved a style in which she explored the dynamic potentialities of optical phenomena. These so-called ‘OpArt’ pieces, such as Fall, 1963, produce a disorienting physical effect on the eye. I am interested in this work because the shapes are simple. I could easily see some letters out of this, the colours are also a big part of this design.

y e l i R t e g d i r B Bridget Riley: This is the development, I took the idea from this piece of work. I really like this piece because it has a lot of curves and lines which I can interpret into letter shapes.

From this picture I explored the flow of the lines, I changed the direction they go and combined the lines to interlock with eachother.

s e i r t s u d n I House House Industries is a group of type designers bringing a vintage feel to the contemporary world of graphic design. They have worked for Ed Roth for the Rat Fink typefaces, which is a similar style of work I would like to produce in this project. They have also done work for Nickelodeon and created the Lucky Charms logo. I looked through all of their fonts and this Holiday font reading â&#x20AC;&#x2DC;Mrs. Hepburnâ&#x20AC;&#x2122; is one of my favourites. I want to create something similar but more simple.

I also found this font, which is completely different to what I originally thought I would do as a typeface, but it is clear, simple and easy to read, which is important for a font.

s e i r t s u d n I e s u o H Roughs: I took the font Holiday Script and pulled it apart to create a similar script font but in my own way. I love this typeface in capitals, although to make a word from all capitals with this style of script font it would be difficult to read. I have used the name of my company ‘illustripe’ to experiment with the letters. I started by drawing them separate. This style of font has to be joined up to work properly, because it has a hand written effect and with the extra lines starting and ending the letter they look odd separated. I then drew the same word again using the same letters and it looks much better, it is easier to read and more suitable for a handwritten script font. I will look into some more script fonts to better this typeface I have experimented with, but I will contiue by looking for something more simple. “Good design is a lot like clear thinking made visual” - Edward Tufte

n g i s e D d o R Hot

Hot Rod & Pinstripe Design Because I am working on my company ‘Illustripe’ which is going to be based on hot rod and drag racing art work, I decided to use this brief as a way of creating my own font for the company which will be suitable to use in my logo as well as complete this brief. These are some of the fonts designed by House Industries for Ed Roth. I quite like the ‘big house’ font because it looks like it has texture. The letters look printed, this is something I could look into to create a typeface with depth. I also looked at some photos that are inspiring me to design a font that can be hand painted. I think by hand painting the font before touching it with any software is risky but also exciting because there is no certainty that every letter will come out perfect, but for a handwritten font this would add a character that you would normally get with a computer generated design.

k n i F t a R , h t o R Ed Ed Roth: The typefaces by House Industries were designed for Ed Roth with Rat Fink. They assumed the rights to the great Photo-Lettering noverlty types. Ed Benguiant was one of their cheif type designers.

Tiki, showcar and Rat Fink are all emblems of West Coast 1960â&#x20AC;&#x2122;s pop culture still reprised in nostalgic ways today. The Rat Fink lettering was devised by Big Daddy Ed Roth, the greatest hot rod painter of the era. This final picture is my inspiration towards the final outcome of this project. The Stripe can of One-Shot paint is what I will be using to experiment presenting my type.

s c i h p a r G m Kusto Ed Roth Font: I broke down the font and tried it in my own way. I used the work â&#x20AC;&#x2DC;illustripeâ&#x20AC;&#x2122; to see how the letters interlocked with eachother. I like how by using the combined capitals and low caps it can create a piece of art as well as a word, the word becomes quite abstract. When I was drawing the font I changed the straightness of the x-height to make it a more characteristic font, it looks more dramatic.

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s c i h p a r G m Kusto Kustom Graphics: This is a book I picked up at the race track. I like it because it has lots of hot rod artists work and this is one of my biggest interests. There are lots of different styles of typeface, they all have a similar 60’s era to them. The type in this book varies from strong block letters to a very script like font. I like more of the bold fonts used in this book, there are a lot similar to the Ed Roth fonts, like the font used to write ‘BIG KAHUNA’. I am going to focus more on the bold fonts to experiment with because I like the style and it will fit well with my interest.

This ‘Speedway’ typefcae is one of my favourites I found. This is something I wil look into at more detail.

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d r a i l l e M l i e N Prosign: Prosign is a signnwriting and graphics company based in South London, they are a team of hustband and wife and are both traditional sign writers. They letter a variety of vechicels, they have their reputation for pinstriping and custom paint on racecars, bikes, show cars and helmets. I wanted to look into some signwriting companies for inspiration on colour, because our brief asks for the font in colour, this could give me some ideas on how to colourise properly. I really like this font used to write â&#x20AC;&#x2DC;Havocâ&#x20AC;&#x2122; so I explored the font in more detail. I really like how the low cap letters came out and I think this is something I will develop further. It is sharp and bold, I like how pointly the serifs are and how the serif is a traditional look for a font yet this has a fresh, modern look to it. To develop this further I am going to size up the letters and do the whole alphabet in this style, along with the capital letters too.

Custom lettering inspired font.

a i m e h o B w e N A-Frames: New Bohemia Signs is a group of designers and sign writers who appreciate the art of a good looking hand-painted sign. Their work can be seen all over San Francisco. They have been hand-painting signs since 1993. I really like the look of old classic hand painted designs, therefore this is one of the final three artists I am choosing to look at for the development of my final font. I really like these A-Frames and how the use of colour as well as font design can draw you into a shop or business, they are eye catching and well designed which is key when you want to draw attention to your shop.

a i m e h o B w Ne Gold on Glass: This is a style I really like, Iâ&#x20AC;&#x2122;ve seen a lot of gold leafing donw on cars and dragsters but I think itâ&#x20AC;&#x2122;s a really classy design to have on a window. I like the effect of the leaf as well, this is an example of gold leaf on a car.

I think by looking at this work I have a style to work with, some of the designs I have come up with I want to develop further because I really like the design I did similar to the work of Pro Signs.

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Pinstriping: Pinstriping is a difficult technique following free flowing lines. The brush has long hair which takes a lot of concentration to control. They are usually painted onto cars and motorcycles but as the technique has progressed it has become more popular with things such as iphone cases, hip flasks, kettles and fridges. The list of things you can pinstripe is endless! I am interested in this because I have seen a lot of work done by Nefarious at the track I race at so I have always been around things like this. It is a great interest of mind because I have seen some been done and I appreciate the skill you need to be able to be trusted to do these designs on cars and other objects.

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t h g i S e v e t S Steve Sight is a custom painter and pinstriper for Somerset. I like the use of colours in his work, especially this orange tank; it is subtle because of the deep orange on orange and ivory highlights, itâ&#x20AC;&#x2122;s like a hidden design. I also like how detailed the pinstripe is, there are lots of lines to make up the patterns whereas Simon Pollockâ&#x20AC;&#x2122;s designs are less complex.

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g n i p i r s n i P My I bought my own kit because I was interested in giving the art of pinstriping a go anyway, because a lot of money can be made from it. But I thought also for the genre of my project it will become very useful. I found it really difficult getting the right consistency of paint and keeping a steady hand. I have impressed myself with my first design because it was also donâ&#x20AC;&#x2122;t on paper which is not the right surface material to paint onto really. The 1 shot enamel paint is really for metal, paint and wood. After looking at Nefarious, New Bohemia signs and Steve Sightâ&#x20AC;&#x2122;s work I am now ready to start working on my final font design.

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g n i p i r s n i P My Practice makes perfect: To get used to the brush I used a range of different materials to work with. I found the toughest thing to pinstripe was the glass bottle, not because of the material but because of the shape, it was akward to do neatly. I tired on paper which was good but not as smooth as doing it onto acetate. These designs helped me learn how to use the brush so I can now tacle the letters in the same style. I really like the way these have turned out because it was my first try. I am pleased and confident now that I can go forth a design a cool, pinstripe style font. I will explore more colours once I have the letter on to te computer but for now these are my only two colours of paint and they have to be ordered from Germany! I can see in my development the form of shapes that I know could become letters. There is a lot of smoothness to these designs which I want to bring through to my final font.

e e r h T l a n i F

Final three artists: These are my final three artists I have chosen to look at, because they have the best outcomes. I have chosen to look Fernard Leger, Steve Sight and Frank Stella. These three artists are the most impressive, they are bold and colourful which is what I originally wanted to create in this project. I am most pleased with the design I created influenced by Fernard Leger. It is the most creative and readable which is key for a font. I don’t like the pinstripe font reading ‘Simon Pollock’ - the font looked good in order of the alphabet however making by making words it didn’t look as impressive.

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r e g e L d r a n r e F This is the final Fernard Leger inspired font. The letters in order are not consistent; the ‘E’ for example is a single line stem which doesn’t match the rest of the letters, I also don’t like the letter ‘K’ because the width of it is too wide compared to the rest of the letters,it looks too big to fit in with the other letters. I will not be using this as my final font because it is not as consistent as my other two designs.

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a l l e t S Frank

Frank Stella: I really like this as a font and I have decided to develop this as one of my final three because I think it is unique, I really like how similar it looks to the work of Frank Stella. I decided to develop this further and draw the whole alphabet in this style of lettering and then looked into the colours of his work. I really pulled his work apart to get the best similarity out of it to put into a font. This piece in particular is what I concentrated on for the shape of the letters.

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a l l e t S k n a r F At this stage in my designs I think this is my best outcome for a font, it is simple, easy to read with colour which I think is key for a font and its also quite quirky. The font without colour can be easily confused with some other letters because they are the same without colour. So I will have to create this font in both colour and black and white. I am pleased with the outcome of this font, it looks really neat digitally drawn and so far I think this is my most successful font.

I used the same colours as I had drawn and experimented with on paper and took it into Photoshop to add colour. I really donâ&#x20AC;&#x2122;t like this with the colour it reminds me of an old fashioned carpet.

a l l e t S k n a r F I experimented further with the colour of this font and this is my favourite.

This is the piece of work I took the colours from. The yellow is used in a lot of his work which is why I wanted to include it. The black in the centres of the font is from looking at more than just this piece of work. I think this is the best colour scheme for the font because of the amount of colour, Stellaâ&#x20AC;&#x2122;s work isn not shy of colour but infact extremely vibrant in the choices.

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This is my final Frank Stella inspired font working in block squares. I really like how the font is blocked, this has already planned out how my advertisement for the font will look.

k o o B n e m i c Spe Font Bureau Specimen Book: With the final font I have also been asked to design a cover for the Font Bureau Specimen Book which will feature my font design. This is the front cover design. I like this design because it could also work as an advertisement for my font, it can look similar using one giant letter and then use text to describe the font.

FONT BUREAU Artist Typeface Addition TYPE SPECIMENS

I am happy with this design because it is similar to the current designs for the book however it is different because it is a lot more colourful which makes it unique.

t n e m s i t r e v d A Advertisment: I have designed three different advertisements for the font, all using different letters of my font design. I have decided my favourite design is the one using the letter ‘S’. It is also more appropriate because of the name ‘Stella’.

FRANK STELLA This font was heavily inspired by the artist Frank Stella. His work is bold and colourful which is what first attracted me to design a font based on his work. The shapes in his artwork also had a big impact on the way these letters were formed. They are very structural and quite Celtic looking, however the bold use of colour brings it to date making it look abstract and interesting.

F. STELLA This font was heavily inspired by the artist Frank Stella. His work is bold and colourful which is what first attracted me to design a font based on his work. The shapes in his artwork also had a big impact on the way these letters were formed. They are very structural and quite Celtic looking, however the bold use of colour brings it to date making it look abstract and interesting.

I took out some of the colours so that the font that is being shown working wouldn’t clash with a background of too much colour, this also shows a mix of the colour font and the font in black and white.

e g a P Web

e g a P Web Web Page: I realised after I had designed the web page I had done it wrong. It had to be a page coming off the current Font Bureau website, so I re-designed it to the style it should be, however I still think the first design looks better and that I would be quite a good idea for the Designer of the font to have their page for the font in the style of the font, because my other design still fits the theme of the Font Bureau website, I just changed the colours to make it the same style as my work.

n o i t a Evalu Evaluation: So far in my time studying at University this has been my favourite project, it was definitely the most enjoyable so far. What I have enjoyed the most is how broad the design experience was, because we could look at any artist we want and the creative outcomes and experiments were endless. I have worked with jam on toast and pinstriped glass. I have learnt a lot about how fonts work - and donâ&#x20AC;&#x2122;t work - which has become useful to me for future projects. I have learnt a lot to take from this project, the mathematical theories behind bringing a font together to work, it isnâ&#x20AC;&#x2122;t as easy as just writing out the alphabet in a certain style, there is a lot of measuring and kerning involved to get the right spaces between letters and the right width and height. If I was to change anything on this project I would try to explore the pinstriping technique more, it was a very time consuming task which is why at the same time as researching other artists and techniques I found it difficult to produce anymore outcomes, but with extended time on this project I would have liked to have taken that further and maybe my final font would have been different. If I was to take this project further I would look at how the font I have designed could be used. I could find a product that my font would suit, a musician, or a style of artwork which this font would be well matched to, this would show the success of my font being used outside of the purpose of this brief.

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