project Expressive designer Mark
Delboy
course Typography faculty
Typeface Design in Motion 4
Francheska Guerrero
Corcoran School of the Arts & Design at the George Washington University
TABLE OF CONTENTS Section 1: Research: 6 Communication Strategies
Vernacular Type 3 3–5 Aesthetic investigation 6–8 Object culture 9–11 Type in the environment (2D) 12–14 Type in physical space 15–17 Historical Revival 18–20 Generative 21–23
Section 2: Research and Analysis: Historical Typefaces 24–109 Section 3: Expressive Typeface Design Ideation Version 1: HAMBURGEFONTSIV letter form 110–121 Version 2: HAMBURGEFONTSIV letter form 122–125 Version 3: HAMBURGEFONTSIV letter form 126–132 Section 4: Expressive Typeface Design Development, Part 1 Version 1: HAMBURGEFONTSIV letter form 133–147 Version 2: HAMBURGEFONTSIV letter form 148–162 Section 5: Expressive Typeface Design Development, Part 2 Version 1: Each letter in the alphabet & punctuation 163–211 Version 2: Each letter in the alphabet & punctuation 212–251 Section 6: Expressive Typeface Design Development, Part 3 Version 1: Baseline, mean line, descender line, cap height 252–255 Version 2: No baseline, mean line, descender line, cap height 256–259 Section 7: Type Specimen PDF 260–275 Section 8: Poster Design 276 Section 9: Merch 277–281
Section 1: Research: 6 Communication Strategies
Vernacular Type
3
Section 1: Research: 6 Communication Strategies
Vernacular Type
4
Section 1: Research: 6 Communication Strategies
Vernacular Type
5
Section 1: Research: 6 Communication Strategies
Aesthetic Investigation
6
Section 1: Research: 6 Communication Strategies
Aesthetic Investigation
7
Section 1: Research: 6 Communication Strategies
Aesthetic Investigation
8
Section 1: Research: 6 Communication Strategies
Object Culture
9
Section 1: Research: 6 Communication Strategies
Object Culture
10
Section 1: Research: 6 Communication Strategies
Object Culture
11
Section 1: Research: 6 Communication Strategies
Type in the environment (2D)
12
Section 1: Research: 6 Communication Strategies
Type in the environment (2D)
13
Section 1: Research: 6 Communication Strategies
Type in the environment (2D)
14
Section 1: Research: 6 Communication Strategies
Type in physical space
15
Section 1: Research: 6 Communication Strategies
Type in physical space
16
Section 1: Research: 6 Communication Strategies
Type in physical space
17
Section 1: Research: 6 Communication Strategies
Historic Revival
18
Section 1: Research: 6 Communication Strategies
Historic Revival
19
Section 1: Research: 6 Communication Strategies
Historic Revival
20
Section 1: Research: 6 Communication Strategies
Generative
21
Section 1: Research: 6 Communication Strategies
Generative
22
Section 1: Research: 6 Communication Strategies
Generative
23
Bauer Bodoni Roman 204 pt
Section 2: Research and Analysis:
Historical Typefaces
24
ABCD HIJKL OPQR
DEFG LMN RSTU Section 2: Research and Analysis:
Historical Typefaces
26
VWXY abcde klmno
YZ fghij opqrst Section 2: Research and Analysis:
Historical Typefaces
28
uvwxy 45678 {}!?&/
yz123 890() /.,:� Section 2: Research and Analysis:
Historical Typefaces
30
DIDOT
HTF L96 Light 195 pt
Section 2: Research and Analysis:
Historical Typefaces
31
ABCD HIJKL PQRS
DEFG LMNO TUV Section 2: Research and Analysis:
Historical Typefaces
33
WXYZ abcdef mnopq
Z fghijkl qrstuv Section 2: Research and Analysis:
Historical Typefaces
35
wxyz12 890( ){} :”
234567 }!?&/., Section 2: Research and Analysis:
Historical Typefaces
37
Walbaum Roman 195 pt
Section 2: Research and Analysis:
Historical Typefaces
38
ABCD HIJKL OPQR
DEFG LMN RSTU Section 2: Research and Analysis:
Historical Typefaces
40
VWXY abcde klmno
YZ efghij opqrs Section 2: Research and Analysis:
Historical Typefaces
42
tuvwx 34567 {}!?&/
xyz12 7890() /.,:� Section 2: Research and Analysis:
Historical Typefaces
44
ITC Garamond Book 195 pt
Section 2: Research and Analysis:
Historical Typefaces
45
ABCD HIJKL OPQR
DEFG LMN RSTU Section 2: Research and Analysis:
Historical Typefaces
47
VWX abcde jklmn
XYZ efghi nopq Section 2: Research and Analysis:
Historical Typefaces
49
rstuv z1234 90(){}
vwxy 45678 }!?&/ Section 2: Research and Analysis:
Historical Typefaces
51
.,:”
Section 2: Research and Analysis:
Historical Typefaces
53
Adobe Garamond Regular 211 pt
Section 2: Research and Analysis:
Historical Typefaces
54
ABCD HIJKL OPQR
DEFG LMN RSTU Section 2: Research and Analysis:
Historical Typefaces
56
VWXY abcdef lmnop
YZ fghijk pqrstu Section 2: Research and Analysis:
Historical Typefaces
58
vwxyz1 67890 &/.,:”
12345 0(){}!? Section 2: Research and Analysis:
Historical Typefaces
60
Helvetica Neue Regular 201 pt
Section 2: Research and Analysis:
Historical Typefaces
61
ABCD HIJKL PQRS
DEFG LMNO STUV Section 2: Research and Analysis:
Historical Typefaces
63
WXYZ abcde klmno
Z efghij opqrst Section 2: Research and Analysis:
Historical Typefaces
65
uvwxy 45678 {}!?&/
yz123 890() .,:� Section 2: Research and Analysis:
Historical Typefaces
67
Linotype Univers Regular 201 pt
Section 2: Research and Analysis:
Historical Typefaces
68
ABCD HIJKL PQRS
DEFG LMNO STUV Section 2: Research and Analysis:
Historical Typefaces
70
WXYZ abcde klmno
Z efghij opqrst Section 2: Research and Analysis:
Historical Typefaces
72
uvwxy 45678 !?&/.,:
yz123 890(){} :� Section 2: Research and Analysis:
Historical Typefaces
74
Meta Normal 212 pt
Section 2: Research and Analysis:
Historical Typefaces
75
ABCDE JKLMN RSTUV
EFGHI NOPQ VWXY Section 2: Research and Analysis:
Historical Typefaces
77
Z abcde klmno
efghij opqrs Section 2: Research and Analysis:
Historical Typefaces
79
tuvwx 34567 (){}!?&
xyz123 7890 &/.,:� Section 2: Research and Analysis:
Historical Typefaces
81
Futura Regular 192 pt
Section 2: Research and Analysis:
Historical Typefaces
82
ABCDE IJKLMN QRSTU
EFGH NOP UVW Section 2: Research and Analysis:
Historical Typefaces
84
XYZ abcde lmnop
efghijk qrstuv Section 2: Research and Analysis:
Historical Typefaces
86
wxyz1 56789 !?&/.,
1234 90(){} ,:� Section 2: Research and Analysis:
Historical Typefaces
88
Franklin Gothic Book Regular 214 pt
Section 2: Research and Analysis:
Historical Typefaces
89
ABCD IJKLM QRSTU
EFGH MNOP UVW Section 2: Research and Analysis:
Historical Typefaces
91
XYZ abcde klmno
efghij opqrs Section 2: Research and Analysis:
Historical Typefaces
93
tuvwx 34567 (){}!?&
xyz12 7890 &.,:� Section 2: Research and Analysis:
Historical Typefaces
95
Gill Sans Regular 212 pt
Section 2: Research and Analysis:
Historical Typefaces
96
ABCD HIJKL PQRST
DEFG MNO TUV Section 2: Research and Analysis:
Historical Typefaces
98
WXYZ abcde lmnop
Z fghijk pqrstu Section 2: Research and Analysis:
Historical Typefaces
100
vwxyz 56789 !?&/.,:”
z1234 90(){} � Section 2: Research and Analysis:
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102
Neu Haas Grotesk Roman 200 pt
Section 2: Research and Analysis:
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103
ABCD HIJKL OPQR
DEFG LMN RSTU Section 2: Research and Analysis:
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105
VWXY abcde lmnop
YZ efghijk pqrstu Section 2: Research and Analysis:
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107
vwxyz 56789 !?&/.,:”
z1234 90(){} � Section 2: Research and Analysis:
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109
Section 3: Expressive Typeface Design Ideation
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Hit iceberg!
.... .. - .. -.-. . -... . .-. --. ..--. Section 4: Expressive Typeface Design Development, Part 1
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Aband Ship
.- -... .- -. -.. --- -.
... .... .. .--.
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MSSN: Complete
-- ... ... -.
---路路路
-.-. --- -- .--. .-.. . - .
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Blown. End TX
-... .-.. --- .-- -. .-.-.- . -. -.. - -..Section 4: Expressive Typeface Design Development, Part 1
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Under ATCK
..- -. -.. . .-.
.- - -.-. -.-
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Rescue is needed
.-. . ... -.-. ..- . .. ... -. . . -.. . -.. Section 4: Expressive Typeface Design Development, Part 1
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Give Position
--. .. ...- .
.--. --- ... .. - .. --- -.
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Emerg Descent
. -- . .-. --.
-.. . ... -.-. . -. -
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Fire R Engine
..-. .. .-. . .-. . -. --. .. -. . Section 4: Expressive Typeface Design Development, Part 1
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Over & out
--- ...- . .-.
.- -. -..
--- ..- -
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Neg Perm Not GRNT
-. . --. .--. . .-. -- -. --- - --. .-. -. Section 4: Expressive Typeface Design Development, Part 1
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TGT LCKD
- --. -
.-.. -.-. -.- -..
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Sinking SOS
... .. -. -.- .. -. --.
... --- ...
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INFIL
.. -. ..-. .. .-.. Section 4: Expressive Typeface Design Development, Part 1
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Verify Status
...- . .-. .. ..-. -.-- ... - .- Section 4: Expressive Typeface Design Development, Part 1
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Hit iceberg!
.... .. - .. -.-. . -... . .-. --. ..--. Section 4: Expressive Typeface Design Development, Part 1
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Aband Ship
.- -... .- -. -.. --- -.
... .... .. .--.
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MSSN: Complete
-- ... ... -.
---路路路
-.-. --- -- .--. .-.. . - .
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Blown. End TX
-... .-.. --- .-- -. .-.-.- . -. -.. - -..Section 4: Expressive Typeface Design Development, Part 1
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Under ATCK
..- -. -.. . .-.
.- - -.-
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Rescue is needed
.-. . ... -.-. ..- . .. ... -. . . -.. . -.. Section 4: Expressive Typeface Design Development, Part 1
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Give Position
--. .. ...- .
.--. --- ... .. - .. --- -.
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Emerg Descent
. -- . .-. --.
-.. . ... -.-. . -. -
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Fire R Engine
..-. .. .-. . .-. . -. --. .. -. .
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Over & out
--- ...- . .-.
.- -. -..
--- ..- -
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Neg Perm Not GRNT
-. . --. .--. . .-. -- -. --- - --. .-. -. -
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TGT LCKD
- . ... - .. -. --.
- -..-
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Sinking SOS
... .. -. -.- .. -. --.
... --- ...
Section 4: Expressive Typeface Design Development, Part 1
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INFIL
.. -. ..-. .. .-.. Section 4: Expressive Typeface Design Development, Part 1
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Verify Status
...- . .-. .. ..-. -.-- ... - .- -
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Section 5: Expressive Typeface Design Development, Part 2
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J SIGĹ .--- ... .. --. Section 5: Expressive Typeface Design Development, Part 2
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MAYDY MAYDYĹ -- .- -.-- -.. -.-- -- .- -.-- -.. -.-Section 5: Expressive Typeface Design Development, Part 2
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Neg Per DNIED -. . --. .--. . .-. -.. -. .. . -.. Section 5: Expressive Typeface Design Development, Part 2
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OVR N Out --- ...- .-. -. --- ..- Section 5: Expressive Typeface Design Development, Part 2
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Pan-Pan Ĺ .--. .- -. -....- .--. .- -. Section 5: Expressive Typeface Design Development, Part 2
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QRY WX CNDĹ --.- .-. -.-- .-- -..- -.-. -. -.. Section 5: Expressive Typeface Design Development, Part 2
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RSCU is NDEDĹ .-. ... -.-. ..- .. ... -. -.. . -.. Section 5: Expressive Typeface Design Development, Part 2
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SOS SNKNGĹ ... --- ... ... -. -.- -. --. Section 5: Expressive Typeface Design Development, Part 2
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TESTING - . ... - .. -. --. Section 5: Expressive Typeface Design Development, Part 2
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UNDR ATKĹ ..- -. -.. .-. .- - -.Section 5: Expressive Typeface Design Development, Part 2
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VER STATĹ ...- . .-. ... - .- Section 5: Expressive Typeface Design Development, Part 2
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WARNG ICBRGSĹ .-- .- .-. -. --. .. -.-. -... .-. --. ... Section 5: Expressive Typeface Design Development, Part 2
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XT W N CH -..- - .-- -. -.-. .... Section 5: Expressive Typeface Design Development, Part 2
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XTRM CON -..- - .-. -.-. --- -. Section 5: Expressive Typeface Design Development, Part 2
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Y CQ -.-- -.-. --.Section 5: Expressive Typeface Design Development, Part 2
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ZULU TMĹ --.. ..- .-.. ..- - -Section 5: Expressive Typeface Design Development, Part 2
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SY AGNĹ ... -.-- .- --. -. Section 5: Expressive Typeface Design Development, Part 2
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ERORĹ . .-. --- .-. Section 5: Expressive Typeface Design Development, Part 2
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ATTN ALL OPERĹ .- - - -. .- .-.. .-.. --- .--. . .-. Section 5: Expressive Typeface Design Development, Part 2
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BRAKĹ -... .-. .- -.Section 5: Expressive Typeface Design Development, Part 2
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DAĹ -.. .Section 5: Expressive Typeface Design Development, Part 2
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DT DAĹ -.. - -.. .Section 5: Expressive Typeface Design Development, Part 2
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DT DTĹ -.. - -.. Section 5: Expressive Typeface Design Development, Part 2
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DT DTĹ -.. - -.. Section 5: Expressive Typeface Design Development, Part
Version 1: Each letter in the alphabet & punctuation
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Y IM RR -.-- .. --
.-. .-.
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Section 7: Type Specimen PDF
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Section 7: Type Specimen PDF
typeface: Encrypted Sans designer: Mark Delbo y
The phrases of distress and common transmission lingo are embedded in the typeface.
Encrypted Sans blends the modern and elegant letterforms of Franklin Gothic with the simple language of Morse Code. Morse Code is a code in which letters are represented by combinations of long and short signals often illustrated as dots and dashes. By rounding the dashes and playing with space between forms, Encrypted Sans creates a futuristic font that is still similar to text in current digital displays. Encrypted Sans is available in two versions. Encoded is the lightweight version whose delicate forms are best suited for large displays. While Heavily Encoded is the bold version ideal for smaller printed works. Much like the Morse Code that inspired it, Encrypted Sans is versatile font that is both technological and connective.
Aesthetic Inspiration & Context
274
Section 7: Type Specimen PDF
275
Section 8: Poster Design
276
Section 9: Merch
277
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