TYPE SPECIMEN BOOK Development of a typeface
YOUNG 20'S T
.
T
B O Y D - Z A M E
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Ta l i y a B o y d - Z a m e Ta u r a n g a New Zealand tboyzam@gmail.com taliyabz.com Editor Ta l i y a B o y d - Z a m e Courtney Richardson Phoebe Skerritt Photographers Ta l i y a B o y d - Z a m e Gemma Ray Ty p e s u s e d Avenir Next Yo u n g 2 0 ’ s Pr i n t e d i n N e w Ze a l a n d All rights reserved. No part of this publication may be reproduced in any form without prior p e r m i s s i o n o f t h e p u b l i s h e r. 2018
TYPE SPECIMEN BOOK Development of a typeface
YOUNG 20'S T
.
T
B O Y D - Z A M E
3
ABOUT THE AUTHOR Ta l i y a B o y d - Z a m e
B o r n a n d r a i s e d i n Pa p a m o a , B a y o f P l e n t y. C u r r e n t l y m a j o r i n g G r a p h i c D e s i g n i n a B a c h e l o r o f C r e a t i v e I n d u s t r i e s a t To i O h o m a i I n s t i t u t e o f t e c h n o l o g y . I enjoy using different aspects within music, architecture and culture to influence my creative practice. I wanted to create a typography that people could reference too. A type that people can connect history with and tells a story. G r o w i n g u p i n Pa p a m o a , N e w Z e a l a n d i s a h u g e b l e s s i n g a s i t i s s u c h a g o r g e o u s a n d h u m b l e p l a c e t o l i v e . Ye t o n e t h i n g t h a t i t d i d n o t h a v e w a s l a r g e c i t y b u i l d i n g s , t h e n i g h t l i f e o r a n y e v i d e n c e o f a r t d e c o a n d t h e atmosphere that surrounded this. After traveling to Napier earlier this year I was inspired by the creative glow and art deco style. Therefore I wanted to recreate the 1920s and art deco as part of my project and typography. After researching further I discovered how much emotion and history also surround this era. I c r e a t e d a t y p o g r a p h y c a l l e d Yo u n g 2 0 ’ s . Yo u n g 2 0 ’ s i s a d e s i g n t h a t s y m b o l i z e s t h e b e a u t y o f t h i s d e c a d e . T h e 2 0 ’s w a s a t i m e o f c e l e b ra t i o n a ft e r t h e d e s t r u c t i o n o f Wo r l d Wa r I a n d t h e m i s e r y o f t h e G re a t D e p re s s i o n , t h e light around what was thought to be a dark abyss. There was also a large shift in building design which had such an impact on architecture in the future. Therefore deciding that the best representation of the decade would be a graphic header type. Displaying the party atmosphere that was the 20s and representation of the beautiful architecture.
CONTENT L e a r n i n g Ty p o g r a p h y
Samples
Inspiration
10
Ty p e S p e c i m e n
29
Context
12
Illustrative Logotype
30
Ty p e f a c e R e s e a r c h & H i s t o r y
13
Yo u n g 2 0 ’s , Ty p e f a c e Uppercase
14-15
Lowercase
16-17
Uppercase & Lowercase Macrons
18
Numbers
19
Special Characters
20-21
Size Guide
22-23
W h e r e To D o w n l o a d
26-27
Anatomy
28
C reat i n g Yo u n g 2 0 ’s M y D e s i g n Pro c e s s Tr a n s f o r m i n g m y t y p o g r a p h y i n t o a salable artifact
32-36 37
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INSPIRATION The 1920s This was the decade of celebration after the mass destruction of World War I and the Great Depression. T h e R o a r i n g Tw e n t i e s w a s t h e period in Western society and culture with a distinctive edge and style. Jazz music blossomed, the flapper redefined the modern look for woman, the style of architecture developed and art deco was at its peak. The popular typography at this time resembles the modernistic change, it with-holds a lot of structure with many straight lines and consistency in relation to curves, sizes and placing as it demonstrated a source of structure for society after the chaos of past events.
Art Deco was certainly one of the most influential decorative styles becoming the most commonly used architectural style of the 1920s. The 1920s were also marked by the rise of Modernist Architecture that turned the entire context of architectural design upside-down. Harry Lewis A theorist that discusses the design process and considerations, determining the context, understanding the audience, transforming a location into a letter form and how he relates his work directly to location and architecture in relation to typography. I find his work extremely influential because of his design process and reasoning.
Woman independence It was 1920 that the American woman was granted the right to vote in elections, it also became clear that woman were gaining more Independence all round with the take over of male jobs and roles whilst they were at w a r. E x a g g e ra t e d f a s h i o n b e c a m e popular with the take over of the Great Gatsby and flapper style.
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YOUNG 20’S Contextual Statement Yo u n g 2 0 ’ s i n v e s t i g a t e s a n d p a y s h o m a g e t o t h e p o s t war social revolution of western design aesthetic of the ro a r i n g 1 9 2 0 ’s . Th i s f o n t w a s i n s p i re d b y re c e n t t ra v e l t o N a p i e r, t h e s e l f p ro c l a i m e d A rt D e c o Ca p i t a l o f t h e w o r l d . Th e t y p e f a c e s d e s i g n e l e m e n t s re f l e c t w o m a n ’s new found independence through the stroke contrast of the typeface, where bold masculinity contrasts with the delicate femininity of line work and the disconnection of both. The use of geometric shapes and structure emphasises and reflects the search for social order after the mass chaos of World War One. Decorative styles found in the geometric architecture of the era such as columns and pillars are incorporated into the formal construction of the typeface. Yo u n g 2 0 ’ s c e l e b r a t e s a n d e m b o d i e s t h e e l e g a n c e a n d re f i n e m e n t o f t h e 1 9 2 0 ’s a n d a rt d e c o e ra .
Learning about typography Ty p o g r a p h y w a s b a s i c a l l y a n u n t o u c h e d t e r r i t o r y f o r me and throughout the process of creating my own typeface I have learnt a huge amount, this included e x p a n d i n g m y k n o w l e d g e o f A d o b e ’s P h o t o s h o p, InDesign and Illustrator programs and also being introduced to a program I have not used before, Glyphs. I was able to adapt the way in which I view architectural design and converting what I see to a specifically design typeface. History Th e 1 9 2 0 ’s w a s a d e c a d e f u l l o f e x c i t i n g s o c i a l c h a n g e s and growth with profound cultural conflict. It was the rise for consumer culture, mass entertainment and development of modern architecture. There were many events that occurred around the time of the Roaring 2 0 ’s s u c h a s Wo r l d Wa r I a n d t h e g re a t d e p re s s i o n . Even though there was a lot of dark that surrounded this era it was a time of celebration after all these events. It was a beautiful time that involved its unique style and will forever be known for its energy and youth.
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ABCDE FGHIJ KLMN Uppercase
OPQRS TUVW XYZ Uppercase
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abcd e fg h i jklmn Lowercase
opqr s tu v wzy Lowercase
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ĀĒĪŌŪ āēīōū Macrons
1 2 34 5678 90 Numbers
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!@#% $()+ =_-\/ Symbols
<>{} []:;”’, .?&* Symbols
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Gg
Gg
Gg
25pt
30pt
35pt
Gg
Gg
Gg
55pt
60pt
65pt
Gg Gg Gg 85pt
90pt
SIZE GUIDE
95pt
Gg
Gg
Gg
40pt
45pt
50pt
Gg
Gg
Gg
70pt
75pt
80pt
Gg Gg Gg 100pt
105pt
110pt
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YOUNG AND BEAUTIFUL
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WHERE TO DOWNLOAD
To d o w n l o a d Yo u n g 2 0 â&#x20AC;&#x2122; s g o t o https://www.fontspace.com/taliyabz/young-20
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ANATOMY
Ag
Ascender 800em
Cap Height 700em
X-Height 469em
Baseline
Descender -200em
YOUNG
20â&#x20AC;&#x2122;S 27
YOUNG20SYOUNG20SYOUNG20SYOUNG2 0SYOUNG20SYOUNG20SYOUNG20SYOUN G20SYOUNG20SYOUNG20SYOUNG20SYO UNG20SYOUNG20SYOUNG20SYOUNG20S YOUNG20SYOUNG20SYOUNG20SYOUNG2 0SYOUNG20SYOUNG20SYOUNG20SYOUN A r t D e c o C a p i t a l G20SYOUNG20SYOUNG20SYOUNG20SYO UNG20SYOUNG20SYOUNG20SYOUNG20S YOUNG20SYOUNG20SYOUNG20SYOUNG2 0SYOUNG20SYOUNG20SYOUNG20SYOUN G20SYOUNG20SYOUNG20SYOUNG20SYO UNG20SYOUNG20SYOUNG20SYOUNG20S YOUNG20SYOUNG20SYOUNG20SYOUNG2 0SYOUNG20SYOUNG20SYOUNG20SYOUN G20SYOUNG20SYOUNG20SYOUNG20SYO UNG20SYOUNG20SYOUNG20SYOUNG20S YOUNG20SYOUNG20SYOUNG20SYOUNG2 0SYOUNG20SYOUNG20SYOUNG20SYOUN G20SYOUNG20SYOUNG20SYOUNG20SYO YOUNG20SYOUNG20SYOUNG20SYOUNG2 0SYOUNG20SYOUNG20SYOUNG20SYOUN G20SYOUNG20SYOUNG20SYOUNG20SYO UNG20SYOUNG20SYOUNG20SYOUNG20S YOUNG20SYOUNG20SYOUNG20SYOUNG2 0SYOUNG20SYOUNG20SYOUNG20SYOUN G20SYOUNG20SYOUNG20SYOUNG20SYO UNG20SYOUNG20SYOUNG20SYOUNG20S YOUNG20SYOUNG20SYOUNG20SYOUNG2 0SYOUNG20SYOUNG20SYOUNG20SYOUN G20SYOUNG20SYOUNG20SYOUNG20SYO UNG20SYOUNG20SYOUNG20SYOUNG20S YOUNG20SYOUNG20SYOUNG20SYOUNG2 0SYOUNG20SYOUNG20SYOUNG20SYOUN G20SYOUNG20SYOUNG20SYOUNG20SYO UNG20SYOUNG20SYOUNG20SYOUNG20S YOUNG20SYOUNG20SYOUNG20SYOUNG2 0SYOUNG20SYOUNG20SYOUNG20SYOUN G20SYOUNG20SYOUNG20SYOUNG20SYO UNG20SYOUN
NAPIER
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N a p i e r, w h i c h i s 3 2 0 k i l o m e t e r s from Wellington, is the Art Deco capital of the world. In 1931, an earthquake measuring 7.9 on the Richter scale, devastated Napier and Hastings, killing 256 residents and injuring t h o u s a n d s . I t w a s N e w Ze a l a n d â&#x20AC;&#x2122;s worst natural disaster to date. The city was rebuilt from scratch in the Art deco style of architecture. I l l u s t r a t i v e Po s t e r C r e a t e d b y Ta l i y a B o y d - Z a m e 2018
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MY DESIGN PROCESS I c r e a t e d Yo u n g 2 0 â&#x20AC;&#x2122; s f r o m t h e shapes seen within the modern architecture that developed in the 1 9 2 0 â&#x20AC;&#x2122;s . I w a n t e d t o i n c l u d e o u r o w n country in some form therefore investigating into the art deco world that lives within the heart of N a p i e r. I began my process by researching the events and culture that surrounded the era and the mood I was wanting to portray through the design of my font. I looked into the motifs found in other typographies that were created or inspired by this time also. Once I had gathered some research and developed an understanding I then began to sketch and highlight shapes and patterns found in architecture that became prominent while researching. Considering legibility and style I pick a specific style and continued to construct it.
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In these building structures there are many decorative styles, instead of functional. Therefore I made my font a display header instead of a body font. We consistently see thick pillars and lining contrasting with the thin and also multiple lined patterns, along with structured 90 degree angles and perfectly symmetrical shapes such as circles. These are the reoccurring aspects that I have incorporated within my font.
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My original idea was to use multiple straight and thin lines to create the bases of my type, this unfortunately did n o t w o r k a s i t a p p e a re d t o b u s y w h e n t h e l e tt e r s w e re p l a c e s n e x t t o e a c h o t h e r. I t h e n p i v o t e d t o a n d m a d e t h e base a solid line similar to the pillars seen in the Napier buildings repetitively. I wanted to create the type with the use of a symmetrical circle shape and all the thin lines disconnected from the solid base. The purpose for this was to portray the woman independence and the beginning of woman standing up for themselves instead of being reliant on the male figure, as it was 1920 that the American Woman gained the right to vote and also the change of the woman perspective, because while the men were at war woman took over many of the male jobs.
Tr a n s f o r m i n g m y t y p o g r a p h y
coloured feature light in the spirit
the framed box outside and glued
into a salable artifact
of Art deco and The Great Gatsby
t o g e t h e r w i t h w o o d P D F.
-
nightlife. The reason for using
Once I had finished the body of the
black framing was to represent
light I installed either blue or pink
After a lot of thought about how
the dark events that the light
LED strips into the inside of the
to represent this beautiful and
emerged from such as the great
frames.
fun decade, I decided to create
d e p re s s i o n a n d w a r, a s t h e 1 9 2 0 â&#x20AC;&#x2122;s
patterns and pieces that use the
was celebration that these events
same thick and thin line work as my
w e re o v e r.
typography. The solid circle is found in the dot
To c r e a t e t h i s p i e c e I n e e d e d t o
upon the i, j, full stop etc. Using
make it out of something light so
the same art deco style and lines
that when placed on the wall it
f o u n d i n Yo u n g 2 0 â&#x20AC;&#x2122; s t o c r e a t e t h e
would not be too heavy. Therefore
rest of the image.
using MDF 5mm and coating the wood in gloss spray paint, so it
Because this era was a time of party
would then have a tidy finish and
and the big city, I thought that the
portray the ideas I was wanting.
best representation would be a
I then used a 9mm MDF to create 35
“AIN’T MISBEHAVIN’” - Th o m a s “ Fa t s ” Wa l l e r ( 1 9 2 9 )
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ACKNOWLEDGMENTS I want to specially thank the Bachelor of Creative Industry s t u d e n t s , t u t o r s a n d s t a f f a t To i O h o m a i , s p e c i f i c a l l y D a l e Sattler putting up with my continuous questions. Thank you to pexels.com for the copy-free stock images. Also my family and friends for being extremely supportive.
