a process of Paramount /
a process of Paramount /
First copy hardcover image wrap copy printed in 2011, by Blurb book printing: Blurb, Inc. 580 California Street, Suite 300 San Francisco, CA 94104 http://www.blurb.com No part of this book should or may be reproduced in any manner with out written permission from the publisher, except in the context of reviews. Book context serves student and grading purposes only and used for no other use. Designer: Courtney Shelton/ 2011
a process of Paramount /
Researched, Written, & designed by Courtney Shelton / Influenced typeface design by Ondrej Job /
table of contents / sly viou e r ss p cla g so urin ce ion s d ut a f n e n binat o i p g t o i y a s b t d om de ent e a res mor ner an icular es a c e p s t w us f th sig ar no ck’ as ht, g Bla g to k this de s his p ej Job dge o g r i o e r ss antin e of ch a Ond owle s w rvin ofe g u n inu obse ties to f Pr hile w owled rent s nces. and k m o y li d two d it, w ef kn appa influe tudy ory lus an face b er qua n i bri me ign he s The a p type unt n it love see lutely just a beco d des with t troke es in this nd co d e I ha abso h only have sts, an ering The S h com ipulat ges a s t d “ d c t g e n i e r s e n u a l h u a hro iss te nd l a , w d m rving e l n i e , T y a it. man istics m h as w face dy an th cu ” e o far, racter cust heory is typ to stu nts wi n a h T e n w h e a n c is o tio eat I pl elem of h erpola ” to cr style. rawn t “In riting italic and d of W l as an g in h el din . THOUGHTS w and adlus style ONDREJ JOB ep h t Thesis History
Inspirations Process Recent work
Influenced Typeface
Statement
3
2
Type Designer
Introduction
1
KLIMAX Category Concept Theories Features In Use
5
Type selection reasoning Plans of type manipulation
The Process
Goals & Reasoning
4
DRAWINGS Skeleton Glyph Dissection Sketches Process Critiques Letter evolution
table of contents /
1
d seen it in two of Professor Black’s presentations during class previously and absolutely loved it, while wanting to know more about it. Through only just a brief knowledge of this designer and typeface so far, man ues have become apparent such as his particular design characteristics, interests, and design influeneces. Ondrej Job uses a combination of his own custom hand lettering with the study and knowledge of the erpolation Theory” as well as “The Stroke Theory of Writing” to create his typeface Klimax, which comes in a plus and minus weight, as well as an italic style. I plan to study and manipulate this typeface by observ d adding in hand drawn elements with curving edges and counter qualities to the plus style.
INTRODUCTION /
beginning thoughts thesis statement
For this entire quarter project and feeding analysis from others, I have chosen to focus my interests of type design in a new and different direction that is typical of me and normal typographic selections. I am seeing more and more how important it is to take interest in exploring the things that make me curious throughout design, and this typeface has been one of them for awhile.
“
Although, when I first heard of the typeface I did not know who the designer was, but he too became a curiosity as well due to the lack of information available in him. I had seen it in two of Professor Black’s presentations during class previously and absolutely loved it, while wanting to know more about it. Through only just a brief knowledge of this designer and typeface so far, many issues have become apparent such as his particular design characteristics, interests, and design influences. Ondrej Job uses a combination of his own custom hand lettering with the study and knowledge of the “Interpolation Theory” as well as “The Stroke Theory of Writing” to create his typeface Klimax, which comes in a plus and minus weight, as well as an italic style. I plan to study and manipulate this typeface by observing and adding in hand drawn elements with curving edges and counter qualities to the plus style.
I PLAN TO STUDY AND MANIPULATE THIS TYPEFACE ELEMENTS WITH CURVING EDGES AND COUNTER QU introduction / 1
beginning thoughts /
E BY OBSERVING AND ADDING IN HAND DRAWN UALITIES TO THE PLUS WEIGHT VERSION.
2
ndrej prefers to work on design projects that are culture oriented and are also experimental. He is highly influenced and inspired by almost anything graphic and letters of course. He has a very high interest in the mic books of Hannah Barbera animations, illustrations, and the art of Eastern Asia. A lot of his work that is typical and known of him is his custom hand lettering. His lettering and technigques are a crucial part of s process and design work. While he is in the beginning stages in developing a typface—which —which most come from his hand lettering sketches from his notebook—he can then start to see the hand lettering then — rn into a typeface of its own. This is where he gains a huge part of satisfaction by drawing out his type first and then being able to see the next immense possibilities and opportunities it holds for its ne ep of being placed in digitally.
TYPE DESIGNER /
Ondrej Job history inspirations process recent work
e f
ext
Ondre Czech is with out on Ondre Slovakian graphic/type designer Nethe where and h Acade reside
ondrej job / Ondrej Job is a graphic and typeface designer from
Czechoslovakia, born in 1984. Fairly young as Ondrej
is within the type design world, he has sure set himself
out on the right foot with his beginning typeface designs. Ondrej has studied in Denmark, Slovakia, and in the
“As a graphic designer I always have an image of the final product in my head; the colors, composition and typography.�
Netherlands at the Academy of Fine Arts and Design where he received his MA degree in graphic design
and his other MA degree in typeface design at the Royal Academy of the Arts in The Hague. Now he currently
resides in Bratislava, Slovakia, where he has produced the recent typefaces Ico, Ion, Outliner, and Klimax. designer / 2
e he received his MA degree in graphic de his other MA degree in typeface design at emy of the Arts in The Hague. Now he cu es in Bratislava, Slovakia, where he has pr
Ondrej prefers to work on design projects that are culture oriented and are also experimental. He is highly influenced and inspired by almost anything graphic and letters of course. He has a very high interest in the comic books of Hannah Barbera animations, illustrations, and the art of Eastern Asia. A lot of his work that is typical and known of him is his custom hand lettering. His lettering and techniques are a crucial part of his process and design work. While he is in the beginning stages in developing a typeface—which most come from his hand lettering sketches from his notebook— he can then start to see the hand lettering then turn into a typeface of its own. This is where he gains a huge part of satisfaction by drawing out his type first and then being able to see the next immense possibilities and opportunities it holds for its next step of being placed in digitally.
“I THINK I WOULD MAKE A GOOD
TYPOGRAPHIC
POLICE OFFICER.” —Ondrej Job
(Above) A sketchbook view of in process hand lettering of Ondrej Job
recent work / Ondrej’s new typeface “Ion,� (2010) is based on the seven segment digital display. The typeface has ten different weights within the three different developed families which are normal, condensed, and wide. It was designed with the contemporary need of graphic design and typography in thought. He designed the entire typeface with a component box drawing called Cells. (see below) These cells helped him create the different weights and styles of the entire typeface itself. It includes the normal Opentype features as well as ligatures, fractions, and stylistic sets.
designer / 2
—Ico, time icons
(Left) An overview and selected icons from Job’s typeface Ico, available in Time, Weather, and Phone versions
designer / 2
recent work / This typeface “Ico” is inspired by symbols and dingbats of the typical monochromatic LCD display. The mostly are all rounded and organic forms in shape, while being constructed out of the least amount of visual object as possible. These single characters all possess the same lineweight and also that of the before typeface Ion, making them both designed to perfectly work with one another. Ondrej has also just recently completed the design of the type foundry Typotheque’s new website layout. This new design generates test samples of text, has a new font combiner, and a PDF tester. He has also designed his own website that sells multiple products, for example these T-shirt designs to the left.
(Top A screen view of the new redesigned Typotheque website. (Left) Products from Ondrej’s website available for sale.
3
imax features Opentype that allows the typeface to have a larger number of characters, while some postscript fonts are only able to possess up to 256 characters. This typeface includes roughly about 1,177 glyph th also 285 ligatures as well. Its Opentype features of multilingual character sets, ligatures, small caps, various numeric styles, and contextual substitions make this a verstatile typeface for multi use design in almo ny category in any language. The standard ligatures here within the typeface are made to improve the overall readability and kerning of the letters. These are forms and characters coming together as one to increse is process. Klimax includes over a total of 285 of these for use throughout the entire face.
TYPEFACE /
klimax category concept theories features in use
Klimax is an OpenType, DISPLAY TYPEFACE , meaning that it is essentially constructed in a format with the help of Adobe and Microsoft, while used for headlines and displays. The font is able to be produced in many different languages—Klimax being available in Latin based European languages, Baltic, and Turkish. The format for types not being described as OpenType, are PostScript formats. This option limits the number of character glyphs within a typeface to only 256 characters, while those of OpenType can have up to over
65,000 characters. The OpenType features of Klimax consist of around 1,177 glyphs
with 285 ligature sets, small caps, super and subscript replacements, and proper characters to resolve fractions as well as currency symbols.
typeface / 3
the concept / The concept for development of the Klimax typeface was hugely influenced from the studies and theories of The Stroke theory of Writing and Gerrit Noorzidg’s “Interpolation Theory.” Klimax’s bold, plus stroke shows the entire shape and form of the letter while letting the negative counter spaces reveal its Minus weight appearing almost paper or toothpick thin. So applying these theories to the Minus weight results in this plus weight where the form has been extended to its maximum point leaving only the smallest counter forms seen.
(Left) A page from designer Ondrej Job’s notebook as the early stages of the typeface Klimax are began to shape and form. (Opposite) Both processes in the steps of Klimax becoming a finish typeface. (Far opposite) A comparison showing how these theories are put to use through the extreme and then to the least minimum.
the features of klimax / Klimax features Opentype that allows the typeface to have a larger number of characters, while some postscript fonts are only able to possess up to 256 characters. This typeface includes roughly about 1,177 glyphs with also 285 ligatures as well. Its Opentype features of multilingual character sets, ligatures, small caps, various numeric styles, and contextual substitutions make this a versatile typeface for multi use design in almost any category in any language. The standard ligatures here within the typeface are made to improve the overall readability and kerning of the letters. These are forms and characters coming together as one to increase this process. Klimax includes over a total of 285 of these for use throughout the entire face.
(Right) A view of Klimax’s ligature sets, and not even all 285 of them are visible here.
typeface / 3
The small caps within Klimax are constructed to reflect the ordinary, basic geometric shape, while taking away the inner, thin negative counterform that is characteristic of the regular design alphabet. Very extreme as the shapes begin to become, the negative white space around the form still lets the eye shape it into a quite recognizable glyph to be able to communicate.
The ability to replace certain figures and letters is also a trait that Klimax holds. Numbers of other certain characters can be replaced or have superior and inferior alternates added to them, as well as footnotes/endnotes, and mathematical or chemical equations while still being able to compliment rest of the Klimax typeface side by side.
(Top) A view of how small caps work with their comparison to the basic geometric form (Leftt) An example of mathematical symbols and fraction character replacements in Klimax.
Klimax in use / Here the typeface is used within a book cover design titled, “This Joke Ain’t Funny Anymore,� by Marianna Ignataki. Although, the typeface might look different here because it is not being used in the more seen weight of the plus version. On the far opposite, we see it being used in both weight styles for the brand identity for the design conference, Brand New Conference. The title heading using the plus weight while, the minus is used in the subheading and date times off the the right side.
typeface / 3
4
GOALS & REASONING / type selection reasoning plans for manipulation
the form or further to the left, or right for that matter was one of the confusing aspect
ecting this particular typeface. Knowing where to place the stroke either in the midd
the skeletons was one of the biggest struggles that I ran into while starting the proce
t the extreme boldness, the plus and extreme hairline stroke, the minus. Initially dev
brought from the “Interpolation Theory” and “Stroke Theory of Writing,” which is wh
ng this typeface, it is a bit confusing and hard to figure out. Its reference and qualiti
etchbook, I thought it would be a great one in fact to explore. While first exploring an
rst place, so when I could not stop randomly sketching or drawing this typeface out i
tially wound up choosing it in the end decision. I love working with display type a lot i
I believe this is the reason that I was so drawn to this typeface in the beginning, and then essentially wound up choosing it in the end decision. I love working with display type a lot in the first place, so when I could not stop randomly sketching or drawing
this typeface out in my sketchbook, I thought it would be a great one in fact to explore. While first exploring and observing this typeface, it is a bit confusing and hard to
figure out. Its reference and qualities are brought from the “Interpolation Theory” and “Stroke Theory of Writing,” which is what gives it the extreme boldness, the plus and extreme hairline stroke, the minus. Initially developing the skeletons was one of the biggest struggles that I ran into while starting the process of dissecting this particular
typeface. Knowing where to place the stroke either in the middle of the form or further to the left, or right for that matter was one of the confusing aspects.
the skeleton /
For example with the letters K, L, B, P, and R stroke’s were pushed further over to the left, while O, Q S, T, H, A, I, and J were more centered. After this step of forming a skeleton over the typeface, I then began to start simply sketching and tracing the glyphs.
(Top) The plus eight of Klimax with its underlinded skeleton (Bottom) The plus weight of Klimax, showing the curving, diagonal forms that are planned for being added to manipulate the original form of the typeface
goals / 4
5
o I began laying the plus and minus versions over and on top of each other to see what qualities were starting to form and then which ones were appealing to me most, but also worked aesthetically as ell. As I began sketching, I started with just the plus weight and began adding a very thin, almost hairline serif to the ends of some of the forms and really liked how it was looking, so I continued on to bout half way through the alphabet. Although I was happy with how this was looking, it was the very first exploration, and I knew that I needed to explore further and could come back to this solution if ecessary. Continuing on, since I was beginning this process with laying the different weights over the top of one another, I then thought of taking different elements from each weight and somehow trying dd them in together to form one fluid typeface.
THE PROCESS / skeleton gylph dissection drawings sketches process critique letter evolution
the skeleton / I kind of dove right in when it came to developing this skeleton. This is the very first time that I have designed a typeface of my own so I really had no idea what I was doing and no previous experience to relate back on. This was probably one of the greatest challenges for me through out this whole typeface progression. Although I did love Klimax, it was a bit of a challenging typeface to study and get used to, due to its extreme boldness and then the opposite, thin weights. As I began to continue on further into creating the skeleton, it did get easier as do all things, but it very closely started to resemble the minus weight of Klimax which makes total sense. Certain glyphs like the R, as seen from below were uncertain as of where to place the entire skeleton itself.
skeleton needs to move to the right more
the rest look good
gylph dissection / Although the time consuming process of glyph dissection, it helped tremendously for me to get to know this typeface even more. The relationships the each similar style letter form begin to paint the picture into your mind for when the time comes of planning out your own designed typeface. The relationships that the letters O, C, D formed were almost perfectly in line on top of one another. Also when during the process, it was visual how extremely wide the letters M and W were. While being such a similar looking glyph, they are indeed different in design and not repeated and/or reflected.
the final skeleton /
12 34 56 78
Rue Display Medium
ffl SOME inspirations
!@#$%^&*()/<>
process / 5
the layering of trace /
So I began laying the plus and minus versions over and on top of each other to see what qualities were starting to form and then which ones were appealing to me most, but also worked aesthetically as well. As I began sketching, I started with just the plus weight and
began adding a very thin, almost hairline serif to the ends of some of the forms and really liked how it was looking, so I continued on to about half way through the alphabet. Although I was happy with how this was looking, it was the very first exploration, and I knew that I needed to explore further and could come back to this solution if necessary. Continuing on, since I was beginning this process with laying the different weights over the top of one another, I then thought of taking different elements from each weight and somehow trying to add them in together to form one fluid typeface. This idea started to form some very unique, but also strange letter forms at the same time. The problem I began to run into as well with trying to add in elements of both plus and minus weights, was that it started looking somewhat like the typeface Broadway, which I do not like at all. So this idea was quickly dropped and moving on to another was the next step.
“
“
WITH NO REAL IDEA OR DIRECTION IN MIND, BUT SOLELY FOR EXPERIMENTATION AND DISCOVERY PURPOSES, WHILE ALSO TRIAL AND ERROR.
process / 5
the beginning of the process /
I tried the typeface out again with just the plus weight, but only darkened
in one half vertically. This, after done on more letters was not looking right, so on the process still continued. Many other little ideas similar to these were experimented, but now I needed to focus my attention on the manipulation of the counters and see where that would take me, instead of just looking at the positive spaces.
This next phase of sketching and drawing was the most beneficial for me
throughout the entire process I think; simply by tracing my skeleton in a larger scale on normal letter sized sheets of white paper let me really see the forms and shapes that the letters were creating and then how I wanted to change them into my own. While drawing out my key glyphs first, O, C, D, G, E, and V, different manipulations started to take place for each. I drew the forms in their original context, with curved counters, serifs, rounded edges, condensed, italic, and stencil styles, and with rounded and slanted counters. Finally after twenty-two pages of glyph drawings I had decided on a style to execute. The most appealing to me became the slanted, curved counters and the rounded edges that I had decided to experiment with in the earlier stages.
process / 5
(Right) After choosing the final way that I wanted to manipulate and change my beginning typeface, I began to then choose the route to draw them out instead of developing them right into the computer at first.
process / 5
correction areas (Left) Next, the step was placing my drawings and sketches into the computer and start to then form the outlines of the shapes. Already within this view, the changes that need to be made are already able to be seen.
process / 5
(First) This first E here to the left was how I originally planned it to be. I looked at it and saw that there was no diagonal element in it so I started to experiment with that.
(Second) This thought was carried through with the processes again the same way as the letter E.
(Third) This letter was mostly done with the beginning first sketches. Playing with the form more to find innovative alternatives was tried next, but only so many ways were able to work to keep the letter still readable.
(Fourth) The M and the W were a lot of the same characteristics of course, but took some time in getting the diagonal counters in the right places to improve it optically.
less angle on exterior
less angle
eliminate & see what happens
much too big
widen to equal the balance
heavier spine
flatter stem like T
less angle Changed glyphs (below) as well as ones colored BLUE which are also other versions that I wanted to you to look at as well.
nice, but may be too big, set in a word and see
like this, but may appear too big in word form
process critiques /
Changed glyphs (below) as well as ones colored BLUE which are also other versions that I wanted to you to look at as well.
this should work fine
could be an M solution
process / 5
process / 5
glyph comparisons /
key glyphs /
smooth out, work on counter
widen more
correct character relationship?
process / 5
keep working out
Change of the E / Due to the first attempt at the letter E, and some of the previous ones not working out, I came to the idea and critique of classmates to try and maybe develop and uppercase cursive E and see how it looked. To the (left) a symmetrical version and then to the (right) one that has its bottom terminal extending out further. I liked it singular by itself, but when placed into with the rest of the alphabet I did not feel like it looked as though it fit in with rest of the glyphs. This version of the letter E here to the left is what was first started with, but the middle arm was almost opposite of the relationships that normally occur within the arms of this letter. So it was then changed to the outside arms being thickest and the middle as the smaller.
Evolution of the G / The letter G was my ultimate hardest glyph to figure out. It in comparison to other typefaces was my letter S. Trying to fit in the diagonal counter of manipulation that I was going for in all the letters was a great challenge for this letter because I also had to make its inner crossbar and spur work together with it as well. I had a basis down of the left side since the letter C was already developed, but it took some puzzling and trial and error to make the figure ground relationships work between on the right half of the G.
process / 5
This version here is where it was trying to add in the entire mass of the bottom spur and crossbar as one whole shape such as how it is done in the original version of Klimax. This became too bulky and pointed at the end while not possessing characteristics of then intended manipulation..
Next the adding in of the diagonal counter part gave some more form and definition the glyph but it was still not the right solution for the form.
Klimax Plus
Skeleton The only difference here is the beginning stroke of the letter at the top and the thickness in width of the descending spur as well as its length which goes slightly further down in contrast to the above.
This came to be the last, but then final and correct solution for the letter G. It still has the diagonal inner counter form, and also communicates the letter successfully with a smaller vertical counter to separate out the bottom spur.
(Right) Process critique of the numbers in progress. (Far opposite) Final solutions for all ten number glyphs.
very nice form, but is too heavy in comparison to rest
have handled this gylph very well
this gylph is too heavy
very nice handling of the counters, try this with the 4
process / 5
the numbers / Numbers were something that I was really hoping to have time to work out because they are one of my most favorite parts of typography. I LOVE to work with them. I think this reason is because they are able to communicate singularly by themselves with letters need to be used most often times in a word to make sense and serve a means of good communication. While developing out these numbers, the seven and the four were the two that gave me the most trouble. Getting that counter to match up at the right diagonals of the seven was a challenge while also having to keep the weight consistent at the same time. The four was an awkward form to try and make that counter form fit into. I tried another version with the top more open having a square like quality, but that did not look right or fit in with rest of the numbers. So the counter then moved to the upper right hand part of the number and stayed final as an open counter.
the final glyphs /
the Paramount /
process / 5
the context / Paramount is a bold and fun display typeface that is usable in almost any application, although in most cases is too large for body copy typography. It is an influenced design from the typeface Klimax, designed by Slovakian designer Ondrej Job. Itâ&#x20AC;&#x2122;s concept relies heavily on the Interpolation Theory of maximizing and minimizing the stroke weight of the form. Paramountâ&#x20AC;&#x2122;s concept stays true to this as well while adding in manipulations of rounded edges and curved diagonal placed counters.
the colophon / This book was designed using the typeface Trade Gothic, in all varying weights, styles and sizes. Trade Gothic is a sans-serif typeface designed in 1948 by James Burke. This type is most seen in multimedia and advertising, while being combined with a roman text. Most condensed versions of the typeface are used and seen in headlines. The subject matter of the book is about the typeface in process which is, Paramount, an influenced design from the font, Klimax, by typeface designer Ondrej Job.