The Typographic Specimen Collection

The Typographic Specimen Collection Miranda Hayes

Blithedale Brodyville Davicar Fellatype Rossfit Starvision Tiboro

The Typographic Specimen Collection Miranda Hayes

Blithedale Brodyville Davicar Fellatype Rossfit Starvision Tiboro

Table of

Preface

Chapter 2: Blithedale Sans

Chapter 3: Blithedale Roman

4. Acknowledgments and

36. Blithedale Specimen

72. Blithedale Specimen

Introduction

42. Weights & Stances

78. Weights & Stances

46. Blithedale Type Studies

82. Blithedale Type Studies

Chapter 1: Blithedale Serif

Chapter 3: Blithedale Slab

Chapter 5: Brodyville

8. Introduction & Concept

54. Blithedale Specimen

90. Introduction & Concept

10. Blithedale Specimen

60. Weights & Stances

92. Brodyville Specimen

16. Weights & Stances

64. Blithedale Type Studies

98. Weights & Stances

20. Blithedale Type Studies

102. Brodyville Type Studies

26. Blithedale Application

108. Brodyville Application

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Chapter 6: Davicar

Chapter 8: Rossfit

Chapter 10: Tiboro

118. Introduction & Concept

170. Introduction & Concept

224. Introduction & Concept

120. Davicar Specimen

172. Rossfit Specimen

226. Tiboro Specimen

126. Weights & Stances

178. Weights & Stances

234. Tiboro Type Studies

130. Davicar Type Studies

182. Rossfit Type Studies

238. Tiboro Application

136. Davicar Application

188. Rossfit Application

Chapter 7: Fellatype

Chapter 9: Starvision

Conclusion

146. Introduction & Concept

198. Introduction & Concept

248. From the Author

148. Fellatype Specimen

200. Starvision Specimen

154. Weights & Stances

206. Weights & Stances

158. Fellatype Type Studies

208. Starvision Type Studies

162. Fellatype Application

214. Starvision Application

Acknowledgments Introduction

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This is the collection of typefaces created by Miranda Hayes in 2015.

Each of the typefaces in this book exhibits the concept of the faces, the characters, the weights and stances, type studies, and the application of the faces. The typefaces collected here are all inspired by a specific person or persons, for a specific application. These typefaces have went through several stages of refinement to the final forms exhibited here.

The refined stages of the faces and their processes can be viewed in their individual typographic specimens. The collection of these typefaces will be released for private and commercial use on January 29, 2016.

From the Author: I could not have created this publication without the h e l p o f C h e r y l H ay e s , Ti m o t hy S p e a k e r , a n d E r i n F l e m i n g .

Thank you for always believing in me and pushing me to learn new things. I dedicate this publication to each of you for your contribution to my career as a designer. I could not have reached this milestone in my c a re er w it hout you. I hop e t h i s w i l l b e t he fi r st of ma ny pu bl ic at ions of specimens I release.

The typefaces I have created in this book are all unique. They are intended for specific purpose, but can also be used to solve other t y pograph ic problems. T hes e a re 10 of ma ny t y pefaces that w i l l be released in 2016. To keep up with other typefaces or publications being released, follow me on behance at www.behance.com/mirandahayes or email me at mhayes102@andersonuniversity.edu

Chapter 1: Blithedale Serif Typeface Family

Introduction Concept

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T h e t y p e fa c e fa m i l y o f Bl it he da le wa s i n s p i r e d b y t h e n o v e l Th e B l i t h e da l e Romance by N at h a n i e l Hawthorne. The Novel is based i n N e w E n gl a n d d u r i n g t h e Tr a n s c e n d e nt a l m o v e m e nt .

T h e b o o k h a s fo u r m a i n cha ract e r s: M i le s C ove rda le, Hol l i ngswort h, ‘Z e nob i a’, and Priscilla. These characters fo u n d e d a t r a n s c e n d e nt a l s et t le me nt i n Ma s s achu s et t s.

T h e s e t t l e m e nt w a s c a l l e d Bl it he da le. Bl it he da le wa s intended to be a place where C overda le, Hol l i ngswort h, Z e n ob i a, a nd Pr i s c i l l a c ou ld solve the problems in the world.

T he s e fou r ch a r a ct e r s i n t he book reminded me of t he fou r t y p o g r a p h e r s G i a m b at t i s t a B o d o n i , Wi l l i a m C a s l o n ,

J o h n B a s k e r v i l l e , a n d Firmin D i d o t. E a ch of t h e s e d e s ig ne r’s cre at e d s ome of t he mo st revolutionary serif t ypefaces of their time to solve a typographic problem. I decided to col la b orat e t h e i r t y p e fa c e i nt o o n e a n d naming it Blithedale.

T he t y p efac e Bl it he da le wa s created for the use in a reprint of the novel, but more generally in print publication. The concept b e h i n d t h e t y p e fa c e a n d i t s many typeface variations was to create a typeface that could solve a l l t y pograph ica l issues w ith i n one family. The typefaces were Bl it he da le i s a very u n iq ue de s igne d for p a i r i ng w it h one superfamily. There are four styles another within the same family. of the t y peface: Bl itheda le Ser i f, This is similar to the way a true Blithedale Roman, Blithedale Sans, italic works in typeface design. a nd Bl it he da le Sla b. E ach of t he styles in Blitheda le a re composed T he Bl it he da le S e r i f w i l l have of 4 s t a nc e s: reg u l a r, exp a nd e d, the application of the face at the condensed, and a oblique of each. end of t h i s chapt er. T he s a me I t i s fu r t h e r e x p a n d e d i nt o 8 application of the face would be d i fferent weight s: regu la r, l ight, appl ie d to t he ot her st yle s of l ight e r, l ight e st, s em i b old, b old, t he fac e. T he fu l l t y p og raph ic b o ld e r, a n d b o ld e s t. T h e t o t a l specimen with all of the weights nu m b e r o f t y p e fa c e s i n t h i s and styles can be viewed in The family is 192, each style composed Typographic Romance. of 48 variations.

The

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Maj uscu les

A À Á  à ÄÅÆ BCÇDÐEÈÉÊËF GHIÌÍÎÏIJJKLĿM NÑOÒÓÔÕÖØŒ P QR S TÙ Ú Û ÜV W Ŵ Ẁ Ẃ ẄXÝ Ŷ Ÿ ỲZ

The

12|13

M i nuscu les

aàáâãåäæbcçdðe è é ê ë fg h i ì í î ï ij j k l ŀ m n ñoòóôõöøœpq rst uùúûüv wŵ ẁ ẅ xyỳýÿŷz

The

14|15

Nu mera ls & Pu nct uat ion

1234567890 ({[]})–—-_*.,‘’“”:;•…‹›⁄ \&¡!¿?|¦∅−~≈+=≠ ≤ ≥ × % € ¢$ ™

The

Weight s

s

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Blithedale Lightest Blithedale Lighter Blithedale Light Blithedale Regular Blithedale SemiBold Blithedale Bold Blithedale Bolder Blithedale Boldest

The

St a nces

s

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Bl it heda le Exp a nded Bl itheda le Condensed Bl itheda le Obl ique Bl itheda le Regu la r

Scale of

Blit

Blithe

Blitheda

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Blithedale SERIF 10pt.

Blithedale SERIF 2 0pt.

Blithedale SERIF 30pt.

Blithedale SERIF 40pt.

Blithedale SERIF 50pt.

hedale SERIF 60pt.

dale SERIF 70pt.

le SERIF 80pt.

Type

THE UPPER CASE LETTERS The Title Case Letters the lower case letters

22|23

THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG The Quick Brown Fox Jumps Over The Lazy Dog the quick brown fox jumps over the lazy dog

Typeface

10/12pt. type. 0 tracking. optical kerning

10/14pt. type. 0 tracking. optical kerning

10/12pt. type. 30 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance.

Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance.

Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

24|25

10/14pt. type. 30 tracking. optical kerning

10/12pt. type. 60 tracking. optical kerning

10/14pt. type. 60 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem. Do you know the story behind the typefaces you use?

If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Ty peface legi bi l it y is very i mporta nt to the success of a t y peface. A fter a l l, t y pefaces a re des igned to be read. Each t y peface is u n ique a nd designed for d i fferent pu rposes, but a l l designed to com mu n icate a mes s age. T he cla r it y of t he me s sage is what defi nes it’s i mporta nce. Messages that a re clea r to u nderst a nd ca n a ls o b e complex i n mea n i ng. Concept is a lso i mporta nt to the t y peface.

Ty pefaces shou ld be designed as a s olut ion to a t y pograph ic problem. Do you k now the story beh i nd the t y pefaces you use ?

I f not, it is t i me to lea rn! Ma ke su re the message is consistent, a l l the way dow n to the t y p ography.

Ty peface legi bi l it y is very i mporta nt to the success of a t y peface. A fter a l l, t y pefaces a re designed to be read. Each t y peface is u n ique a nd des igned for d i fferent pu rposes, but a l l designed to com mu n icate a message. T he cla r it y of t he message defi nes it’s i mporta nce. Messages that a re clea r to u ndersta nd ca n a lso be complex i n mea n i ng.

Concept is a lso i mporta nt to the t y peface. Ty pefaces shou ld be designed as a solut ion to a t y pograph ic problem. Do you k now the story beh i nd the t y pefaces you use ? Ma ke su re the message is consistent, a l l the way dow n to the t y pography.

The

26|27

The

28|29

The

30|31

The Blithedale Romance Natha n iel Haw thorne

The transcendental tale of the tragic love and fatalistically mystery a small New England community named Blithedale. The mystery unfolds in the next few chapters, with a twist of faith and fate for an unforeseen ending.

The

32|33

There can hardly remain for me (who am really getting to be a frosty bachelor, with another white hair, ever y week or so, in my mustache) there can hardly flicker up again so cheery a blaze upon the hearth, as that which I re m e mb e r, t h e n e x t d ay, at Blithedale.

Chapter 2: Blithedale Sans Typeface Family

The

Characters

s

36|37

Maj uscu les

AÀÁÂÃÄÅÆB CÇDÐ E È É Ê Ë FG HIÌÍÎÏIJJKLĿMNÑ OÒÓÔÕÖØŒPQ RSTÙÚÛÜVWŴ ẀẂẄXÝŶŸỲZ

The

Characters

s

38|39

M i nuscu les

aàáâãåäæbcçdðe è é ê ë fg h i ì í î ï ij j k l ŀ m n ño ò ó ô õ ö øœpq rstuùúûüvwŵẁẅ xyỳýÿŷz

The

Characters

s

40|41

Nu mera ls & Pu nct uat ion

1234567890 ({[]})–—-_*.,‘’“”:;•…‹›⁄ \&¡!¿?|¦∅−~≈+=≠ ≤ ≥ × % € ¢$ ™

The

Weight s

s

42|43

Blithedale Lightest Blithedale Lighter Blithedale Light Blithedale Regular Blithedale SemiBold Blithedale Bold Blithedale Bolder Blithedale Boldest

The

Sta nces

s

44|45

Bl it heda le Exp a nded Bl itheda le Condensed B l i theda le Obl iq ue Bl itheda le Regu la r

Scale of

Bl

Blith

Blithed

46|47

B l ith edal e SAN S 10 pt.

B lithedale SAN S 20 pt.

B lithedale SAN S 30 pt.

Blithedale SAN S 40 pt.

Blithedale SAN S 50 pt.

ithedale SAN S 60pt.

edale SAN S 70pt.

ale SAN S 80pt.

Type

TH E U PPER CASE LETTERS The Title Case Letters the lower case letters

48|49

TH E QU I CK B ROWN FOX J UMPS OVER TH E LAZY DOG The Quick B rown Fox J um ps Over The Lazy Dog the quick brown fox j um ps over the lazy dog

Typeface

10/12pt. type. 0 tracking. optical kerning

10/14pt. type. 0 tracking. optical kerning

10/12pt. type. 30 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read.

Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read.

Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Typeface legibility is very important to the success of a typeface.

After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem.

Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

50|51

10/14pt. type. 30 tracking. optical kerning

10/12pt. type. 60 tracking. optical kerning

10/14pt. type. 60 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem.

Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Ty peface legi bi l it y is very i mporta nt to the success of a t y peface. A fter a l l, t y pefaces a re designed to be read. Each t y peface is u n ique a nd designed for d i fferent pu rposes, but a l l designed to com mu n icate a message. T he cla r it y of the message is what defi nes it’s i mporta nce. Messages that a re clea r to u nderst a nd ca n a lso be complex i n mea n i ng.

Concept is a lso i mporta nt to the t y peface. Ty pefaces shou ld be designed as a solut ion to a t y pographic problem. Do you k now the story behi nd the t y pefaces you use ? I f not, it is t i me to lea rn! Ma ke su re the message is consistent, a l l the way dow n to the t y p ography.

Ty peface legi bi l it y is very i mporta nt to the success of a t y peface. A fter a l l, t y pefaces a re designed to be read. Each t y peface is u n ique a nd designed for d i fferent pu rposes, but a l l designed to com mu n icate a message. T he cla r it y of t he message defi nes it’s i mporta nce.

Messages that a re clea r to u ndersta nd ca n a lso be complex i n mea n i ng. Concept is a lso i mporta nt to the t y peface.

Ty pefaces shou ld be designed as a solut ion to a t y pographic problem. Do you k now the story behi nd the t y pefaces you use ? Ma ke su re the message is consistent, a l l the way dow n to t he t y pography.

Chapter 3: Blithedale Slab Typeface Family

The

Characters

s

54|55

Maj uscu les

AÀÁÂÃÄÅÆB CÇDÐE È É Ê ËFG H I Ì Í Î Ï IJJ K LĿM N ÑO Ò Ó Ô Õ Ö ØŒP QR STÙÚÛÜVWŴ ẀẂẄXÝŶŸỲZ

The

Characters

s

56|57

M i nuscu les

aàáâãåäæbcçdðe è é ê ë fg h i ì í î ï ij j k l ŀ m n ñ o ò ó ô õ ö ø œ pq rst uùúûüv wŵ ẁ ẅ xyỳýÿŷz

The

Characters

s

58|59

Nu mera ls & Pu nct uat ion

1234567890 ({[]})–—-_*.,‘’“”:;•…‹›⁄ \&¡!¿?|¦∅−~≈+=≠ ≤ ≥ × % € ¢$ ™

The

Weights

s

60|61

Blithedale Lightest Blithedale Lighter Blithedale Light Blithedale Regular Blithedale SemiBold Blithedale Bold Blithedale Bolder Blithedale Boldest

The

Stances

s

62|63

Bl ithe da le Expa nded Bl itheda le Condensed Bl itheda le Obl ique Bl itheda le Regu la r

Scale of

Blit

Blithe

Blitheda

64|65

Blithedale SLAB 10pt.

Blithedale SLAB 20pt.

Blithedale SLAB 30pt.

Blithedale SLAB 40pt.

Blithedale SLAB 50pt.

thedale SLAB 60pt.

edale SLAB 70pt.

ale SLAB 80pt.

Type

THE UPPER CASE LETTERS The Title Case Letters the lower case letters

66|67

THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG The Quick Brown Fox Jumps Over The Lazy Dog the quick brown fox jumps over the lazy dog

Typeface

10/12pt. type. 0 tracking. optical kerning

10/14pt. type. 0 tracking. optical kerning

10/12pt. type. 30 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance.

Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance.

Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

68|69

10/14pt. type. 30 tracking. optical kerning

10/12pt. type. 60 tracking. optical kerning

10/14pt. type. 60 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Ty peface legi bi l it y is very i mporta nt to the success of a t y peface. A fter a l l, t y pefaces a re designed to be read. Each t y peface is u n ique a nd designed for d i fferent pu rposes, but a l l designed to com mu n icate a me ssage. T he cla r it y of t he me ssage is what defi nes it’s i mporta nce. Messages that a re clea r to u nderst a nd ca n a l so b e complex i n mea n i ng. Concept is a lso i mporta nt to the t y peface.

Ty pefaces shou ld be designed as a solut ion to a t y pographic problem. Do you k now the story behi nd the t y pefaces you use ?

I f not, it i s t i me to lea rn! Ma ke su re the message is consistent, a l l the way dow n to the t y pography.

Ty peface legi bi l it y is very i mporta nt to the success of a t y peface. A fter a l l, t y pefaces a re designed to be read. Each t y peface is u n ique a nd designed for d i fferent pu rposes, but a l l designed to com mu n icate a message. T he cla r it y of t he message defi nes it’s i mporta nce. Messages that a re clea r to u ndersta nd ca n a lso be complex i n mea n i ng.

Concept is a lso i mporta nt to the t y peface. Ty pefaces shou ld be designed as a solut ion to a t y pographic problem. Do you k now the story behi nd the t y pefaces you use ? Ma ke su re the message is consistent, a l l the way dow n to the t y pography.

Chapter 4: Blithedale Roman Typeface Family

The

Characters

s

72|73

Maj uscu les

AÀÁÂÃÄÅÆB CÇDÐEÈÉÊËFG HIÌÍÎÏIJJKLĿMNÑ OÒÓÔÕÖØŒPQ RSTÙÚÛÜVWŴ ẀẂẄXÝŶŸỲZ

The

Characters

s

74|75

M i nuscu les

aàáâãåäæbcçdðe è é ê ë fg h i ì í î ï ij j k l ŀ m n ño ò ó ô õ ö øœpq rstuùúûüvwŵẁẅ xyỳýÿŷz

The

Characters

s

76|77

Nu mera ls & Pu nct uat ion

1234567890 ({[]})–—-_*.,‘’“”:;•…‹›⁄ \&¡!¿?|¦∅−~≈+=≠ ≤ ≥ × % € ¢$ ™

The

We ight s

s

78|79

Blithedale Lightest Blithedale Lighter Blithedale Light Blithedale Regular Blithedale SemiBold Blithedale Bold Blithedale Bolder Blithedale Boldest

The

St a nc e s

s

80|81

Bl it heda le Exp a nded Bl itheda le Condensed Bl itheda le Obl iq ue Bl itheda le Regu la r

Scale of

B

Blith

Blithed

Blithedale

82|83

B l ith edal e ROMAN 10pt.

B lithedale ROMAN 20pt.

B lithedale ROMAN 30pt.

Blithedale ROMAN 40pt.

Blithedale ROMAN 50pt.

hedale ROMAN 60pt.

ale ROMAN 70pt.

e ROMAN 80pt.

Type

TH E U PPER CASE LETTERS The Title Case Letters the lower case letters

84|85

TH E QU I CK B ROWN FOX J UMPS OVER TH E LAZY DOG The Quick B rown Fox J umps Over The Lazy Dog the quick brown fox j umps over the lazy dog

Typeface

10/12pt. type. 0 tracking. optical kerning

10/14pt. type. 0 tracking. optical kerning

10/12pt. type. 30 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read.

Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read.

Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning.

Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this.

Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

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10/14pt. type. 30 tracking. optical kerning

10/12pt. type. 60 tracking. optical kerning

10/14pt. type. 60 tracking. optical kerning

Typeface legibility is very important to the success of a typeface.

After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem.

Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Ty peface legi bi l it y is very i mporta nt to the success of a t y peface. A fter a l l, t y pefaces a re designed to be read. Each t y peface is u n ique a nd designed for d i fferent pu rposes, but a l l designed to com mu n icate a message. T he cla r it y of the message is what defi nes it’s i mporta nce. Messages that a re clea r to u nderst a nd ca n a lso be complex i n mea n i ng.

Concept is a lso i mporta nt to the t y peface. Ty pefaces shou ld be designed as a solut ion to a t y pographic problem. Do you k now the story behi nd the t y pefaces you use ? I f not, it is t i me to lea rn! Ma ke su re the message is consistent, a l l the way dow n to the t y p ography.

Ty peface legi bi l it y is very i mporta nt to the success of a t y peface. A fter a l l, t y pefaces a re designed to be read. Each t y peface is u n ique a nd designed for d i fferent pu rposes, but a l l designed to com mu n icate a message. T he cla r it y of t he message defi nes it’s i mporta nce. Messages that a re clea r to u nderst a nd ca n a l so be complex i n mea n i ng. Concept is a lso i mporta nt to the t y peface.

Ty pefaces shou ld be designed as a solut ion to a t y pographic problem.

Do you k now the story behi nd t he t y pefaces you use ? Ma ke su re the message is consistent, a l l the way dow n to the t y pography.

Chapter 5: Brodyville Typeface Family

Introduction Concept

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The typeface Brodyville was designed as one of four in a collector’s DVD series called Digitype. The DVD in the series were documentaries based on lives of four typographers: Nev ille Brod y , D av id C a rson , Ed Fella , a nd Ti b or Kalma n .

The typefaces designed for the series were inspired by one of works of these.

The typeface Brodyville was i ns p i red b y Nev i lle Brod y .

T h e fo rm o f th e ty pefa ce was pulled from his Cabaret Voltaire album cover design.

The typeface in the top right corner of the alb u m cover was based on a modular grid with no curved edges. This was reflected i n the ty peface Brod y v i lle. Brod y v i lle a ls o

shares the large x-height of the typeface. Brodyville does have a distinguishable x-height, unlike the typeface on the cover where the x-height is almost e v e n w i t h t h e c a p h e i g ht .

Brodyville also uses a hexagon grid structure, where Brody’s typeface on the album cover uses more of a diamond grid structure. These changes were made to make the typeface more legible at smaller scale so it could be utilized as copy type in the design.

The typeface Brodyville was designed for the DVD case and for digital and print production.

The typeface currently has four versions; Brodyville Regular and Expanded and Brodyville Bold and Expanded. This typeface will

be expanded to include and Oblique of each of these in the spring of 2016. The full typographic specimen with all of the weights and styles will be available in “Welcome to Brodyville” in January 2016.

The

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Maj uscu les

ABCDEFGH IJKLMNOP QRSTVWX YZ

The

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M i nuscu les

abcdefghi jklmnopq rs t v w x y z

The

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Nu mera ls & Pu nct uat ion

1234567890 –—-.,‘’“”:;&!?

The

We i g hts

s

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Brodyville Regular Brodyville Bold

The

Stances

s

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Brodyville Regular Brodyville Expanded

Scale of

Bro

Brod

Brodyvi

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Bro d v i lle T YP E 1 0 pt .

Brod y v i lle T YP E 20pt .

Brod y v ille T YP E 30pt .

Brod y ville T YP E 40pt .

Brod yville TYPE 50pt.

odyville TYPE 60pt.

yville TYPE 70pt.

ille TYPE 80pt.

Type

T H E U P P ER C A S E LET T ERS

T he Title C ase Letters

the lower case letters

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T H E QU IC K BROWN FOX J U M P S OVER T H E LA Z Y D OG T he Qu ick Brow n Fox J u m ps Over T he Lazy D og the q u ick b row n fox j u m ps over the lazy dog

Typeface

10/12pt. type. 0 tracking. optical kerning

10/14pt. type. 0 tracking. optical kerning

10/12pt. type. 30 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance.

Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance.

Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

106|107

10/14pt. type. 30 tracking. optical kerning

10/12pt. type. 60 tracking. optical kerning

10/14pt. type. 60 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem. Do you know the story behind the typefaces you use ?

If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem. Do you know the story behind the typefaces you use ?

Make sure the message is consistent, all the way down to the typography.

The

Digityp Nevill Brody D #012345 Proof Purcha

Neville Brody & BRODYVILLE — DIgiTYpe DIsc ONE

pe le Disc 567 of ase

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Neville Brody

BRODYVILLE DIgiTYpe

DIsc ONe

Typeface Documentary

#01234567

Neville Brody

BRODYVILL

The

ENclosed is the DIgital download code DIg for the original typeface Brodyville, DIs EXcluSively Available in this set.

To DOwnload this typeface, and the other typefaces for this series, go to www.digitype.com and use the code GODOGREATTHINGS to redeem Thoughts, Questions, Concerns Ideas?

Contact Plexifilm at www.plexifilm.com

giTYpe

sc ONe

This is One of Four Collector’s Disc Set for the Series Digitype

LE

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THere is No TUrnIng BAck NOw...

WElcome to BRodyVIlle.

BRody The

The image to the right is most famous works. Nevill album covers similar to The design of this case, dis typeface are based from t Brodyvillle exhibited throug film is taken from Brody right-hand corner of the a based in a modular grid like the typeface here. B the lar ge x - height o f t h e However, Brodyville does x-height, unlike the typefac the x - height is almo s t e v e Brodyville also uses a he where the typeface on the diamond structure. These c make the typeface more l so it could be utilized as c To see the full typographic unfold this booklet from t poster is on the back.

yVille

one of Neville Brody’s le Brody designed several the one on the right. sc, booklet, poster, and this design. The typeface ghout the design of this y’s typeface in the top album. The typeface is with no curved edges rodyville also shares ty pe f a ce to the ri ght. have a distinguishable ce on the cover where en w it h the ca p hei ght. xagon grid structure, e right uses more of a changes were made to egible at smaller scale opy type in this booklet. c specimen of Brodyville, he top of this page. The

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The

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Chapter 6: Davicar Typeface Family

Introduction Concept

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T he ty p efac e Dav ic a r was designed as one of four in a collectors DVD series called Dig ity p e . T h e DV D s e r ie s were documentaries on lives of four typographers: Neville Brody, David Carson, Ed Fella, and Tibor Kalman. Each of the typefaces in this series were inspired based on one of the typographers.

The typeface Davicar was i n s p i r e d by D av i d C a r s o n .

T h e fo r m o f t h e ty p e fa c e was pulled from his inside spread of Ray Gun magazine, “My Ray Gun Goes Pew Pew”.

The typeface in the magazine was used for the sub-headers on the spread. The typeface on the spread uses more of a flexible, rounded form.

Davicar used the set-widths of the letterforms, but with more uniform curves which reflect a square letterform.

This change was made to m a ke t he letterfor ms mor e consistent, and to prevent the letterforms from closing up at s m a l l e r s c a l e s .

T h e ty p e fa c e D av i c a r w a s de sig ne d for t he DV D c as e a n d fo r d i g it a l a n d p r i nt p r o du c t i o n . T h e ty p e fa c e currently has four versions; Dav ic a r Re gu la r w eig ht a nd E x p a n d e d a n d D av i c a r Bo l d weight and Expanded.

T h i s ty p e fa c e w i l l s o o n b e expanded to include and Oblique of each of these in the spring of 2016. The full

typographic specimen with all of the weights and styles will be available in “You have been Davicared” in February 2016.

The

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Maj uscu les

ABCDEFG HIJKLMN OPQRSTV WXYZ

The

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M i nuscu les

abcdefghi jklmnopq rstvwxyz

The

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Nu mera ls & Pu nct uat ion

1234567890 .,‘’“”:;&!?

The

Weights

s

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D avi c a r R e g u l a r D avi c a r B o l d

The

Stances

s

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D avi c a r R e g u l a r D avi c a r E x p a n d e d

Scale of

Da

Davic

Davica

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Davicar TYPE 10pt.

Davicar TYPE 20pt.

Davicar TYPE 30pt.

Davicar TYPE 40pt.

Davicar TYPE 50pt.

avicar TYPE 60pt.

car TYPE 70pt.

ar TYPE 80pt.

Type

THE UPPER CASE LETTERS

The Title Case Letters

the lower case letters

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THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG The Quick Brown Fox Jumps Over The Lazy Dog the quick brown fox jumps over the lazy dog

Typeface

10/12pt. type. 0 tracking. optical kerning

10/14pt. type. 0 tracking. optical kerning

10/12pt. type. 30 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message.

The clarity of the message is what defines it’s importance.

Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn!

Make sure the message is consistent.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message.

The clarity of the message is what defines it’s importance.

Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance.

Messages that are clear to understand can also be complex in meaning.

Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this.

Do you know the story behind the typefaces you use?

134|135

10/14pt. type. 30 tracking. optical kerning

10/12pt. type. 60 tracking. optical kerning

10/14pt. type. 60 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning.

Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Do you know the story behind the typefaces you use?

Ty p e fa c e l e g i b i l ity i s v e r y i mp o r t a nt t o t h e s u c c e s s o f a ty p e fa c e . A ft e r a l l , ty p e fa c e s a r e d e s i g n e d t o b e r e a d . E a c h ty p e fa c e i s u n i q u e a n d d e s i g n e d fo r d i ffe r e nt p u r p o s e s , b u t a l l d e s i g n e d t o c o m mu n i c at e a m e s s a g e . T h e c l a r ity o f t h e m e s s a g e i s wh at d e fi n e s it’s i mp o r t a n c e .

M e s s a g e s t h at a r e c l e a r to understand can also b e c o mp l e x i n m e a n i n g .

C o n c e p t i s a l s o i mp o r t a nt t o t h e ty p e fa c e . Ty p e fa c e s should be designed as a s o lu t i o n t o a ty p o g r ap h i c problem. Do you know the s t o r y b e h i n d t h e ty p e fa c e s y o u u s e? I f n o t , it i s t i m e to learn!

Ty p e fa c e l e g i b i l ity i s v e r y i mp o r t a nt t o t h e s u c c e s s o f a ty p e fa c e .

A ft e r a l l , ty p e fa c e s a r e designed to be read. Each ty p e fa c e i s u n i q u e a n d d e s i g n e d fo r d i ffe r e nt purposes, but all designed t o c o m mu n i c at e a m e s s a g e . T h e c l a r ity o f t h e m e s s a g e d e fi n e s it’s i mp o r t a n c e . M e s s a g e s t h at a r e c l e a r t o understand can also b e c o mp l e x i n m e a n i n g .

C o n c e p t i s a l s o i mp o r t a nt t o t h e ty p e fa c e .

Ty p e fa c e s s h o u l d b e d e s i g n e d a s a s o lu t i o n t o a ty p o g r ap h i c p r o b l e m .

David Carson &

Digitype Disc Two

The

Digi Da Carso #0123 Pro Purc

David Carson & Davicar — Digitype Disc Two

itype avid on Disc 34567 oof of chase

136|137

David Carson &

DA VI C A R Digitype Disc Two

D O C U M E N TA RY

ON T H E F I R S T H A N D A C C OU N T OF T H E L I F E A N D C A R E E R OF T H E M A N BE H I N D T H E R AY GU N

A N D T H E T Y P E FA C E I N S P I R E D

BY H I M E N C L 0 S E D #01234567

The

138|139

This is Two of Four Collector’s Disc Set for the Series Digitype

You Have Now Been Davicared

DA V The

The image to the right most famous works. T disc, booklet, poster, a from this design. He wa magazine, which is w entire series is based on of RayGun magazine magazines were design designed differently b they were looking at case and typeface pull set. The typeface Dav interior spread of thi also be seen to the rig magazine has more c where all of the lette a square shape. The rounded serifs. To se specimen of Brodyville the top of this page. T

VI C A R

is one of David Carson’s The design of this case, and typeface are based as the designer of RayGun hat the design for this n. One of the key elements was that none of the ned alike; they were all based on the artist that in that issue. Each DVD s from this idea for the icar is pulled from an is issue. This image can ght. The typeface in the curves than this one, erforms are based on letterforms also have ee the full typographic e, unfold this booklet from The poster is on the back.

140|141

The

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Chapter 7: Fellatype Typeface Family

Introduction Concept

146|147

The typeface Fel latype was designed as one of four in a collectors DVD series called Digity pe . The DVDs in the series were documentaries o n l i ve s o f t h e fo u r typographers Neville Brody, D avi d C a r s o n , E d Fe l l a , and Tibor Kalman. Each of the ty p efaces i n th is s e ries were deisgned based on one of works of the typographers.

The typeface Fellatype was inspired by the typographer Ed Fel la . Ed Fella is a master of experimental typography.

The ty pefaces he d esigns al l use different forms to c reate a co hesive face .

This typeface is pulled from one of his untitled letting works from 2007. “It’s the

world” was the letterforms fro m t h e p iece t h at was p u l l e d fo r t h i s t y p e fa c e .

T h e f l u i d c u r ve s o f t h e letters are repeated in other letterforms like the “f” and the “o.” The graffiti-tag, grunge letters are repeated in forms s uch as the “F” an d the “K . ” The typeface straight ed ges are repeated in the forms for the “ w, ” “ l , ” and the “d . ” The letterforms that do not have re peating e lements in t h e fa c e s u c h a s t h e “ a , ” a re total ly uniq ue.

The typeface Fe l l atype was designed for the DVD case, a n d fo r d i gi t a l a n d p ri n t p ro d uctio n . The ty p eface currently has two versions; Fellatype Regular and Fellatype

Fil led . Fe l l atype fil led was d esigne d fo r use in b o dy co py to make it more legible in smaller scales.

The weights and styles will be available in “Fella and Fellatype” in January 2016.

The

148|149

Maj uscu les

A B C D E FG HIJKLMN OPQRSTV WXYZ

The

150|151

M i nuscu les

abcdefghi jklmnopq rstvwxyz

The

152|153

Nu mera ls & Pu nct uat ion

1 2 3 4 5 67 8 9 0 .,‘’“”:;&!?

The

Weights

s

154|155

Fe l l a t y p e R e g u l a r Fellatype Filled

Scale of

Fe l l

Fel laty

Fe l l aty pe

156|157

Fe l l ayty pe FACE 10 pt.

Fe l l aty pe FACE 20 pt.

Fe l l aty pe FACE 30 pt.

Fe l l ayu pe FACE 40 pt.

Fe l l aty pe FACE 50 pt.

l aty pe FACE 60 pt.

ype FACE 70 pt.

e FACE 80 pt.

Type

THE U PPER CASE LETTERS The Tit l e Case Lette rs the l owe r case l ette rs

158|159

THE QUICK BROWN FOX JUM PS OVER THE LAZY DOG The Quic k Brown Fox Ju m p s Ove r The Lazy Dog the q uic k b rown fox ju m p s ove r the l azy d og

Typeface

10/12pt. type. 0 tracking. optical kerning

10/14pt. type. 0 tracking. optical kerning

10/12pt. type. 30 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem.

Each typeface was designed for this. Do you know the story behind the typefaces you use?

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance.

Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use ? If not, it is time to learn! Make sure the message is consistent.

160|161

10/14pt. type. 30 tracking. optical kerning

10/12pt. type. 60 tracking. optical kerning

10/14pt. type. 60 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines it’s importance.

Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Do you know the story behind the typefaces you use ?

If not, it is time to learn !

Make sure the message is consistent, all the way down to the typography.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message defines it’s importance. Messages that are clear to understand can also be complex in meaning.

Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Do you know the story behind the typefaces you use ?

David Carson &

Digitype Disc Two

The

Digitype Ed Fella Disc #01234567 Proof of Purchase

162|163

Digitiype Disc Three of Four

Digitiype Disc Three of Four

E d Fe l l a & Fe l l a t y p e — d i g i t y p e D i s c T h r e e

#01234567

Ed Fella &

Ed Fella &

The

164|165

This is Three of Four Collector’s Disc Set for the Series Digitype

Time to Learn about the fella and fellatype

The

Th e imag e t o t h e ri g most famous work case, disc, booklet, a r e b a s e d from this of hand lettering He h this one and the one letterforms are all dr one another. The type from this image. the The typeface This im to the right. The ty letters from the to the letterforms lik The typeface pulls f the top left for let “F” and the “K.” The “W” and the :O: on t “l,” and the “d.” To se s pecimen of Fe lla t y p e from t h e t o p o f t h i the back.

g ht is one of Ed Fella’s s. The design of this poster, and typeface design. Ed Fella is a master has several typefaces like on the right where the rastically different from eface Fellatype was pulled fluid shape of the letters mage can also be seen ypeface uses the fluid op right for some of e the “f” and the “o.” rom the letter forms in tterforms such as the typeface pulls from the he image for the “w,” ee the full typographic e , u n fol d this booklet is page. The poster is on

166|167

The

168|169

Chapter 8: Rossfit Typeface Family

Introduction Concept

172|173

The typeface Rossfit was designed for a personal training studio called “Freedom Fitness.”

The company wanted to reach a large audience, with a target of all individuals wanting to make a change physically, mentally and spiritually.

Rossfit is Sans-serif because of the target audience of the company. It also has a large x-height and set-width to h e l p w i t h l eg i b i l i ty at smaller scale. The typeface also has rounded edges to reflect some of the fitness equipment the company uses.

This is reflected in the logo of the company, which can be seen in the Applications section of this chapter.

The typeface forms are based on another typeface I designed called Starvision, which can be seen in the following chapter.

Rossfit uses the base forms of this typeface, with more subtle curves and flexible set-widths.

These changes were made to make the typeface work for branding application.

Rossfit was designed for the application of the company’s logo but has been expanded to included all of the company’s branding design. Some of the applications the typeface has been used on includes business cards, t-shirts, fliers, posters, letterheads, signage, and more.

Some of these applications can be seen later in this chapter.

The typeface currently has three weights: Rossfit Regular, Light, and Bold. The typeface also includes an expanded of each of these. The typeface will be expanded further to include Obliques of each. The weights and styles will be available in, “#rossfit,” in February 2016.

The

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Maj uscu les

ABCDEFG HIJKLMNO PQRSTVW XYZ

The

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M i nuscu les

abcdefghi jklmnopq rstvwxyz

The

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Nu mera ls & Pu nct uat ion

1234567890 ! " #$%&' ( )*+, - . /: ;< =>?@[\]^_{|}¡¢¦© «®±· » ¿×÷– — ‘ ’ ‚ “” „ • …‰‹›™∅−≠≤≥^

The

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Rossf it L ig ht Rossfit Regu lar R ossfit Bold

The

Stances

s

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Rossfit Regu lar Rossfit Expanded

Scale of

R

Ros

Rossf

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R ossf it TYPE 1 0 pt .

R ossfit TYPE 20 pt.

Rossfit TYPE 30 pt.

Rossfit TYPE 40 pt.

Rossfit TYPE 50 pt.

Rossfit TYPE 60 pt.

ssfit TYPE 70 pt.

fit TYPE 80 pt.

Type

TH E U PPER CAS E LETTER S

The Title Case Letters

the lower case letters

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THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG The Quick Brown Fox Jumps Over The Lazy Dog the quick brown fox jumps over the lazy dog

Typeface

10/12pt. type. 0 tracking. optical kerning

10/14pt. type. 0 tracking. optical kerning

10/12pt. type. 30 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines itâ&#x20AC;&#x2122;s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent, all the way down to the typography.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines itâ&#x20AC;&#x2122;s importance. Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn!

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines itâ&#x20AC;&#x2122;s importance. Messages that are clear to understand can also be complex in meaning.

Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent.

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10/14pt. type. 30 tracking. optical kerning

10/12pt. type. 60 tracking. optical kerning

10/14pt. type. 60 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines itâ&#x20AC;&#x2122;s importance. Messages that are clear to understand can also be complex in meaning.

Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Do you know the story behind the typefaces you use?

Typeface l eg i bi l ity is very i m portant to t he s u ccess of a typeface. Af ter al l , typefaces a re desi g ned to be read . Each ty peface is u n iq ue and desig ned for d i fferent pu rposes , but al l desig ned to com mu n i cate a message. T he cla rity of t he message is what def i nes it â&#x20AC;&#x2122;s i m portance. Messag es t hat are clear to u nderstand can al so be com pl ex i n mean i ng .

Concept is al so i m porta nt to t he typeface. Ty pefaces shou l d be desig ned as a sol ution to a typog raphic probl em . Do you know t he story beh i nd t he ty pefaces you u se ? If not , it is ti me to l earn! Make su re t he message is consistent , al l t he way dow n to t he typog raphy.

Ty peface l eg i bi l ity is very i m porta nt to t he s u ccess of a ty peface. Af ter al l , ty pefaces a re desi g ned to be read . Each ty peface is u n iq ue and desig ned for d i fferent pu rposes , but al l desi g ned to com mu n i cate a message. T he clarity of t he messag e def i nes it â&#x20AC;&#x2122;s i m porta nce. Messag es t hat are clear to u nderstand can al so be com pl ex i n mean i ng.

C oncept is al so i m porta nt to t he ty peface. Ty pefaces shou ld be desig ned as a sol ution to a typog raphic problem . Do you know t he story behi nd t he ty pefaces you use ?

The

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The

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The

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The

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Personal Training Studio We focus on teaching men, women and children how to live in fullness, in all aspects of life. As a personal trainer, I believe that living in fullness includes being healthy physically, mentally and spiritually. My desire is to help people reach their fitness goals regardless of what they might be.

Along with physical training I will also focus on the mental aspects of being healthy as well. Far too often I have trained men and women who have lost weight, but because they never changed their thought patterns, they ended up gaining all their weight back, some times, even more. My goal is to work with men and women to change the lies and negative thoughts most people think about themselves. This aspect of training, I believe, is the most important. My passion is to see people live out of their true identity and in the fullness of who they were created to be! I believe Iâ&#x20AC;&#x2122;ve been given an incredible opportunity to help people achieve that through this studio! Freedom Fitness offers specialized workouts and nutrition packages catered to each client and their specific goals. Our training styles include strength, HIIT, Kettle Bell, and Interval training. For more information, contact us at (901)489-0706 or at freedomfitness2016@gmail.com.

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Chapter 10: Starvision Typeface Family

Introduction Concept

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The typeface Starvision was designed for the redesign of the World Vision Website.

The typeface was inspired by the star in the World Vision logo. This is how the name Starvision was developed.

The audience of the redesign wesite was the international middle class.

The typeface is designed on a grid structure based on the geometry of elements in star.

The proportions of the star were used to determine the x-height of the face. The width and angles of the star were also reflected in the face with the W and V. The typeface is Sa ns-Serif to reflect the audience it was intended to

reach and has soft curving edges for a childlike aesthetic in the face. This reflects the mission of the company.

The typeface wa s desig ned to be used in the logo of the company. It was then expanded to b e u s e d a s t h e h e a d e rs and call to actions on the site.

The typefa ce i s best whe n used at large scale, so it was designed to be paired with a Roman or Serif face for smaller copy on the site.

The typefa ce cu rre ntly ha s two weights, Starvision Regular and Bold. The full specimen with we i g hts a nd sta nces wi l l be able to be viewed in "Starvision" in January 2016.

The

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Maj uscu les

ABCDEFG HIJKLMNO PQRSTVW XYZ

The

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M i nuscu les

abcdefghi jklmnopq rstvwxyz

The

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Pu nct uat ion

!&*,.:;?·•…

The

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Sta r v i s i o n R e g u l a r Sta r v i s i o n B o l d

Scale of

St

Sta rv

Starvisi

Sta rvi sion

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Sta rvi s i o n TYPE 1 0 pt .

Sta rvi s i o n TYPE 20 pt .

Sta rvi s i o n TYPE 30 pt .

Sta rvi s ion TYPE 40 pt.

ta rvi s ion TYPE 50 pt.

vi s ion TYPE 60 pt.

ion TYPE 70 pt.

n TYPE 80 pt.

Type

TH E U PPER CAS E LETTER S The Titl e Ca se Lette rs the l owe r ca se l ette rs

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THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG The Qu ick Brown Fox Ju m ps Over The Lazy Dog the quick brown fox jumps over the lazy dog

Typeface

10/12pt. type. 0 tracking. optical kerning

10/14pt. type. 0 tracking. optical kerning

10/12pt. type. 30 tracking. optical kerning

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message.

The clarity of the message is what defines its importance.

Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem.

Each typeface was designed for this. Do you know the story behind the typefaces you use? If not, it is time to learn! Make sure the message is consistent.

Typeface legibility is very important to the success of a typeface. After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message.

The clarity of the message is what defines its importance.

Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. Do you know the story behind typefaces you use?

Typeface legibility i s very impo rtant to the success of a typeface. After all, typefaces are des igned to be read. Each typeface i s unique and des igned fo r different purposes, but all des igned to communicate a message. The clarity of the message i s what defines its impo rtance.

Messages that are clear to understand can also be complex in meaning.

Concept i s also impo rtant to the typeface. Typefaces shoul d be des igned as a soluti on to a typographic problem. Each typeface was des igned fo r thi s.

Do you know the sto ry behind the typefaces you use ? If not, it i s time to learn!

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10/14pt. type. 30 tracking. optical kerning

10/12pt. type. 60 tracking. optical kerning

10/14pt. type. 60 tracking. optical kerning

Typeface legibility i s very impo rtant to the success of a typeface. After all, typefaces are des igned to be read. Each typeface i s unique and des igned fo r different purposes, but all des igned to communicate a message. The clarity of the message i s what defines its impo rtance.

Messages that are clear to understand can also be complex in meaning.

Concept i s also impo rtant to the typeface. Typefaces shoul d be des igned as a soluti on to a typographic problem. Do you know the sto ry behind the typefaces you use ?

Typeface legibility i s very impo rtant to the success of a typeface. After all, typefaces are des igned to be read. Each typeface i s unique and des igned fo r different purposes, but all des igned to communicate a message. The clarity of the message i s what defines its impo rtance.

Messages that are clear to understand can also be complex in meaning.

Co ncept i s also impo rtant to the typeface. Typefaces shoul d be des igned as a soluti o n to a typographic problem. Do you know the sto ry behind the typefaces you use ? If not, it i s time to learn ! Make sure the message i s co ns i stent.

Typeface legibility i s very impo rtant to the success of a typeface. After all, typefaces are des igned to be read. Each typeface i s unique and des igned fo r different purposes, but all des igned to communicate a message. The clarity of the message defines its impo rtance. Messages that are clear to understand can also be complex in meaning. Co ncept i s also impo rtant to the typeface.

Typefaces shoul d be des igned as a soluti o n to a typographic problem. Do you know the sto ry behind the typefaces you use ?

The

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B u i l d i n g a b et t e r w o r l d fo r c h i l d r e n

Sha re Big D re a m s T hi s C h r i st ma s...

S po nso r a Ch i l d Sponsor i ng a chi ld is the mo s t p owe rfu l w ay t h at you c a n fight p ove r t y.

S e a r c h fo r t h e p e r fe c t c h i l d fo r y o u r fa m i l y w i t h t he s e a rch fi lt ers b elow.

Gender Locati on

My name i s Silsa Iâ&#x20AC;&#x2122;m a 2-ye a r-old g i rl from S r i L a n k a, My b i r t h d ay i s J a n u a r y 3 . I s p e a k Ta m i l a n d l o v e t o r u n . Wa t c h t h e v i d e o of me s ay i ng he l l o. I l i v e w i t h m y p a r e n t s . Yo u c a n c h a n g e m y w o r l d fo r go o d! M a ke me p a rt of you r fa m i l y , a n d h e l p m e r e a c h my G o d-g ive n p o t e nt i a l!

Age

search fo r thi s chi ld

become my sponso r

The

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The

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S po nso r a Ch i l d Sponsor i ng a chi ld is the mo s t p owe rfu l w ay t h at you c a n fight p ove r t y.

S e a r c h f o r t h e p e r fe c t c h i l d fo r y o u r fa m i l y w i t h t he s e a rch fi lt ers b elow.

Gender Locati on Age

search fo r thi s chi ld

The

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Chapter 12: Tiboro Typeface Family

Introduction Concept

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T h e t y p e fa c e T i b o ro was designed as one of four in a collectors DVD s e r i e s c a l l e d D i g ity p e .

Th e DVDs in the series we r e d o c u m e nt a r i e s o n l i ve s o f t h e fo u r ty p o g r a p h e r s N ev i l l e B r o d y, D a v i d C a r s o n , Ed Fella, and Tibor Kalman.

Each of the typefaces in this series were deisgned b as e d o n o n e o f t h e works of the typographers.

The typeface Tiboro was inspired by Tibor Kalman.

The typeface design was inspired by Tibor Kalam’s, “Talking Head,” album cover.

The cove uses a new technique of pixilation

over imagery with basic Sans-serif typo graphy.

The typeface Tiboro uses this pixilation aethetic with a Sans-serif typface.

The final form uses the pixilation as serifs in smaller scales.

The typeface Tiboro was desi g ne d fo r the DVD case and for digital and print production. The full typo g raphi c sp e ci men and the process will be available in “Vote Tiboro,” in January 2016.

The

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Maj uscu les

ABCDEFG HIJKLMNO PQRSTVW XYZ

The

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M i nuscu les

abcdefghi jklmnopq rstvwxyz

The

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Nu mera ls & Pu nct uat ion

0123456789 !?&,.:;‘’“”

Scale of

T

Tibo

Tiboro

Tiboro

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Tibo ro TYPE 10pt .

Tiboro TYPE 20pt .

Tiboro TYPE 30pt .

Tiboro TYPE 40pt .

Tiboro TYPE 50pt .

oro TYPE 60pt .

o TYPE 70pt .

TYPE 80pt .

Type

THE UPPER CASE LETTERS

The Title Case Letters

the lower case letters

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THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG The Quick Brown Fox Jumps Over The Lazy Dog the quick brown fox jumps over the lazy dog

Typeface

10/12pt. type. 0 tracking. optical kerning

10/14pt. type. 0 tracking. optical kerning

10/12pt. type. 30 tracking. optical kerning

Typeface legibility is very important to the success of a typeface.

After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines its importance.

Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem. Each typeface was designed for this. is consistent.

Typeface legibility is very important to the success of a typeface.

After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines its importance.

Messages that are clear to understand can also be complex in meaning.

Concept is also important to the typeface.

Typefaces should be designed as a solution to a typographic problem.

Typeface legibility is very important to the success of a typeface.

After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines its importance.

Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface. Typefaces should be designed as a solution to a typographic problem.

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10/14pt. type. 30 tracking. optical kerning

10/12pt. type. 60 tracking. optical kerning

10/14pt. type. 60 tracking. optical kerning

Typeface legibility is very important to the success of a typeface.

After all, typefaces are designed to be read. Each typeface is unique and designed for different purposes, but all designed to communicate a message. The clarity of the message is what defines its importance.

Messages that are clear to understand can also be complex in meaning. Concept is also important to the typeface.

Typ e face le g ib i l ity is very i mpo rtant to the su ccess o f a typ e face.

After all , typ e faces are desi g ne d to b e re ad . Each typ e face is u ni qu e and desi g ne d fo r di fferent pu rpos es , but all desi g ne d to co mmu ni cate a mess ag e. The cl arity o f the mess ag e is what de fi nes its i mpo rtance.

Mess ag es that are cle ar to u nderstand can also b e co mplex i n me ani ng . Co ncept is also i mpo rtant to the typ e face. Typ e faces shou ld b e desi g ne d as a so lutio n to a typo g raphi c problem .

Typ e face le g ib i l ity is very i mpo rtant to the su ccess o f a typ e face.

After all , typ e faces are desi g ne d to b e re ad . Each typ e face is u ni qu e and desi g ne d fo r di fferent pu rpos es , but all desi g ne d to co mmu ni cate a mess ag e. The cl arity o f the mess ag e de fi nes its i mpo rtance.

Mess ag es that are cle ar to u nderstand can also b e co mplex i n me ani ng . Co ncept is also i mpo rtant to the typ e face.

The

Digitype Disc Four

Digit Tib Kalman #0123

Tibor Kalman & Tiboro Digitype Disc Four

type bor n Disc 34567

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& N A M L A K R TIBO

TI B O RO Digitype Disc Four

T h e T a lk in g H e a d ’s Tibor Kalman’s Life & Work

Also, the Typeface

T h a t is in s p ir e d b y h im

Full Typographic specimen #01234567

The

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This is Four of Four Collectorâ&#x20AC;&#x2122;s Disc Set for the Series Digitype

Screw Bad Design, Vote for Tiboro

TI B The

The image of Tibor Ka works. The disc, bookle are based The Typefa base like t h e t o p . Th the p i x i l a t i t h e faces. seen i n t h e l a r g e like t and in s m a serifs. The xheight. Th series all sh and weight similar set typographic unfold this b this page. Th

B O RO

to the right is one almanâ&#x20AC;&#x2122;s most famous design of this case, et, poster, and typeface d from this design. ace uses a sanserif the letterforms at he t ype fa ce al s o us es ion on the edges of The pixilation can be e typeface when it is the letters at the top, all type serves as e typeface has a large he typefaces in this hare the same xheight t. They also all share widths. To see the full specimen of Tiboro, booklet from the top of he poster is on the back.

244|245

The

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Thanks for checking out my typographic specimen collection. Make sure to follow me on social media for more typefaces and specimens coming soon. â&#x20AC;&#x201D;Miranda Hayes

This is the collection of typefaces created by Miranda Hayes in 2015.

E ach of t he t y p eface s i n t h i s book exhibits the concept of the faces, the characters, the weights and stances, type studies, and the application. The typefaces collected here are all inspired by a specific person or persons, for a specific application. These typefaces have went through several stages of refi ne me nt to t he fi na l for m s exhibited here. The collection of these typefaces will be released for private and commercial use on January 29, 2016.