Brisbane, a wayfinding typeface

South Bank South Bank Bank Brisbane Ferries ks R rwor Wate

ro

na

Mo

tio

n

kS

es

Dr

O North Quay CITY South Bank 1&2 N M QUT

South Bank 3 L SOUTH Vulture St BRISBANE

St

Rd yr th er M

G Holman St

NEW FARM J Thorton St F Dockside E Sydney St

B New Farm Park

2013

FLUME

RUBY ROSE

C Norman Park

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Poster weight for banners

River Plaza

������ PARKING Pictograms & orientation devices

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D Mowbray Park

EAST BRISBANE

K

�� ��

B

Inverted Grade

t

Main St

nta gu eR d

Co

wic

Valley Fiesta

A Hawthorn

m

ns

Riverside H Eagle St Pier I

oad

Ja

Br u

A

Regular Grade

EXIT

Brisbane a wayfinding typeface

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Stencil numerals for vehicle parking & footpaths

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Airtrain

Section

Platform

Departing

A8 01 11:25

Brisbane

Wayfinding Brisbane

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The city of Brisbane is commonly referred to as The River City. The Brisbane River winds its way through the city defining North and South.

The river is a large part of everyday life in Brisbane, being used for public transport, leisure and entertainment.

Image 4 by Nadine Shaw

Wayfinding Brisbane

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5

Contents

This book is a collection of thoughts, sketches and digital drawings for a typeface family conceived and designed during my TypeMedia Masters studies at The Royal Academy of Art (KABK) in The Hague. It is designed to take you on my journey from concept stage to the time in which I presented my work to a panel for assessment.

The text in this book is set in Brisbane Regular utilising the set of stylistic alternates designed for small text use.

The project Wayfinding Brisbane

8

My proposal

8

Proposed uses

8

Defining Brisbane

9

Identifying the typeface attributes

14

Technical requirements

14

Proposed styles

14

Family planning

16

The inverted grades

22

Brisbane, the typeface Regular A Regular B Regular Italic A Regular Italic B Semi-Bold A Semi-Bold B Semi-Bold Italic A Semi-Bold Italic B Poster

26 28 30 32 34 36 38 40 42 44

Brisbane, the process Concepts Typeface attributes Stylistic alternates Superiors Proofing system

46 48 56 58 59 60

Orientation devices

66

Pictograms

68

Stencil numerals

70

Typeface in use

72

Thank you

80

About Troy

81

When you’re in Brisbane, we want you to know you’re in Brisbane!

8

The project

My proposal

While Brisbane is a highly walkable city with a large amount of foot traffic, it has inconsistent type solutions for it's pedestrian wayfinding signage.

This jumble of type styles can complicate getting about, and isn’t visually appealing either to residents or visitors.

• Design a typeface for pedestrian wayfinding in the city of Brisbane • The typeface will assist in differentiating Brisbane from Sydney and Melbourne

I saw my final project at Type Media as an opportunity to design a typeface that could tidy up the various styles currently in use. I also wanted to give Brisbane an extra tool that could assist in differentiating it from other large Australian cities such as Sydney or Melbourne.

Proposed uses • Train, Bus and Ferry stations • Parks/Botanical Gardens • Public shopping malls • Historical landmarks • Southbank Parklands & tourist attractions

Defining Brisbane Brisbane is a city on the east coast of Australia with a population of around 2.2 million in 2013. It is the capital city of Queensland, which is Australia’s second largest and third-most populous state.

Brisbane’s recorded history dates from 1799, when Matthew Flinders explored Moreton Bay on an expedition from Port Jackson (although the region had long been occupied by the Jagera and Turrbal aboriginal tribes).

The town was conceived initially as a penal colony for British convicts sent from

Sydney. However, its suitability for fishing, farming, timbering, and other occupations caused it to be opened to free settlement in 1838. The town became a municipality in 1859 and a consolidated metropolitan area in 1924.1

There are some very distinct differences between these cities, but the characteristics which I believe give Brisbane its distinct flavour. The following four pages explore these differences.

Brisbane shares the east coast of Australia with its more famous siblings, Sydney and Melbourne. The three cities often partake in a healthy rivalry, competing for the spotlight of being the most livable city in Australia.

9

10

Defining Brisbane What it is: → Optimistic → Enterprising → River city → Outdoor lifestyle → Relaxed → Unpretentious → Self assured → Clean

11

12

Sydney, Australia

Sydney, Australia

Sydney, Australia

Melbourne, Australia

Melbourne, Australia

Defining Brisbane What it’s not: → Excessive → In the spotlight → Touristy → Glitsy → Hipster → European

Melbourne, Australia

→ Grungy → Mysterious

13

Identifying the typeface attributes After identifying for myself the differences between Brisbane and the other two cities, I translated these defining factors into a list of attributes that I wanted my typeface to reflect.

Given my typeface is for wayfinding, I also needed to identify the technical requirements of a wayfinding

14

typeface and what styles would be required.

I contacted a wayfinding design office in Brisbane— Dot Dash, and asked them this question. They were able to provide me with an insight into what they prefer in a wayfinding typeface and also provided examples of some signage they had produced in the past. This formed the basis for my requirements.

Technical requirements: • Narrow • Large x-height • Low cap height • Open counters • Distinctive forms

Proposed styles: • Regular+Italic • Bold+Italic • Poster/Stencil • Pictograms • Inverted versions It is: • Open • Reg/Low Contrast • Translation • Sans serif • Sturdy curves • Relaxed single story a&g It’s not: • Brushy/Soft • Traditional/Serif • High contrast • Angular

Major orientation

Events, car parks & footpaths Bold

Regular

Poster / Stencil

On location

Historical & trail markers Regular Italic

Regular Bold Italic

15

16

Family planning My proposed family members included six masters and four interpolations. → Regular B → Regular Italic B → Regular A → Regular Italic A → Semi-Bold B → Semi-Bold Italic B → Semi-Bold A → Semi-Bold Italic A → Poster/Stencil 17

ne REGULAR B (Inverted Grade)

REGULAR A (Positive Grade)

SEMI-BOLD B (Inverted Grade)

REGULAR ITALIC A (Positive Grade)

SEMI-BOLD B (Inverted Grade)

ne REGULAR ITALIC B (Inverted Grade)

ne ne ne SEMI-BOLD A (Positive Grade)

SEMI-BOLD ITALIC A (Positive Grade)

POSTER

Masters My current family includes five masters. → Regular B → Regular Italic B → Semi-Bold A → Semi-Bold Italic A → Poster

19

ne ne ne REGULAR B (Inverted Grade)

REGULAR A (Positive Grade)

SEMI-BOLD B (Inverted Grade)

ne ne ne REGULAR ITALIC B (Inverted Grade)

REGULAR ITALIC A (Positive Grade)

SEMI-BOLD ITALIC B (Inverted Grade)

ne ne ne SEMI-BOLD A (Positive Grade)

SEMI-BOLD ITALIC A (Positive Grade)

POSTER

Interpolations My current family includes four interpolations. → Regular A → Regular Italic A → Semi-Bold B → Semi-Bold Italic B

21

tt

Uncorrected comparison

The inverted grades One of the technical requirements I identified was the need for weights specifically created to be used inverted on dark coloured surfaces.

When white text is placed on dark backgrounds, the light refracting from the white area optically expands, making the text look bigger than its black counterpart.

In order to make them appear the same, I’ve created additional grades that have been optically tested to match.

Corrected comparison overlay

tt

Corrected comparison

23

24

South South

h Bank h Bank

A

Regular Grade

B

Inverted Grade

Brisbane, the typeface…

An ‘outdoor lifestyle’ is what the residents of Brisbane lead, with a mean maximum temperature of 26.4 degrees Celsius and mean minimum of 16.2 degrees Celsius.

Image by Nicholas Martin

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27

ÀÁÂÃÄÅĀĂĄÇĆĈĊČĎÈÉÊËĒĖĘĚĜĞĠĢ ĤÌÎÍÏĪĮİĴĶĶĹĻĽÑŃŅŇÒÓÔÕÖŌŐŔŖŘŚŜ ŞŠȘŢŤÙÚÛÜŪŬŮŰŲŴẀẂẄÝŶŸỲŹŻŽ àáâãäåāăąàáâãäåāăąçćĉċčďèéêëēėęě ĝğġģĥìîíıīįïìîíïıįīĵķķĺľļĺľļñńņňòóôõöōő ŕŗřśŝşšșţť�ùúûüūŭůűųŵẁẃẅýÿŷỳ ýÿŷỳźżž 28

Regular A (Positive Grade)

ABCDEFGHIJKKLMNOPQRSTUVWXYZ aabcdefghiijkkllmnopqrstuvwxyyz 1234567890 (&!?@)[$¢£¥€]|\¦/-–— {·•+−±÷×=≠<>%#}*‚.,‘:’;“¡”¿„‹›«~»…_ ←↑→↓↘↙↗↖���� �� ��� �� �������������������������������������������������������� Regular A is an interpolation between Regular B and Semi-Bold A. Tested to optically match Regular B when used on light coloured surfaces.

29

ÀÁÂÃÄÅĀĂĄÇĆĈĊČĎÈÉÊËĒĖĘĚĜĞĠĢ ĤÌÎÍÏĪĮİĴĶĶĹĻĽÑŃŅŇÒÓÔÕÖŌŐŔŖŘŚŜ ŞŠȘŢŤÙÚÛÜŪŬŮŰŲŴẀẂẄÝŶŸỲŹŻŽ àáâãäåāăąàáâãäåāăąçćĉċčďèéêëēėę ěĝğġģĥìîíıīįïìîíïıįīĵķķĺľļĺľļñńņňòóôõöōő ŕŗřśŝşšșţť�ùúûüūŭůűųŵẁẃẅýÿŷỳ ýÿŷỳźżž 30

Regular B (Inverted Grade)

ABCDEFGHIJKKLMNOPQRSTUVWXYZ aabcdefghiijkkllmnopqrstuvwxyyz 1234567890 (&!?@)[$¢£¥€]|\¦/-–— {·•+−±÷×=≠<>%#}*‚.,‘:’;“¡”¿„‹›«~»…_ ←↑→↓↘↙↗↖���� �� ��� �� �������������������������������������������������������� Regular B is my main Master for the regular weight. Designed a fraction lighter for inverted use on dark coloured surfaces.

31

ÀÁÂÃÄÅĀĂĄÇĆĈĊČĎÈÉÊËĒĖĘĚĜĞĠĢ ĤÌÎÍÏĪĮİĴĶĶĹĻĽÑŃŅŇÒÓÔÕÖŌŐŔŖŘŚŜ ŞŠȘŢŤÙÚÛÜŪŬŮŰŲŴẀẂẄÝŶŸỲŹŻŽ àáâãäåāăąçćĉċčďèéêëēėęěĝğġģĥìîíıīįï ìîíïıįīĵķķĺľļĺľļñńņňòóôõöōőŕŗřśŝşšșţť� ùúûüūŭůűųŵẁẃẅýÿŷỳýÿŷỳźżž 32

Regular Italic A (Positive Grade)

ABCDEFGHIJKKLMNOPQRSTUVWXYZ abcdefghiijkkllmnopqrstuvwxyyz 1234567890 (&!?@)[$¢£¥€]|\¦/-–— {·•+−±÷×=≠<>%#}*‚.,‘:’;“¡”¿„‹›«~»…_ ←↑→↓↘↙↗↖���� �� �� ������������������������������������������������������� Regular Italic A is an interpolation between Regular Italic B and Semi-Bold Italic A. Tested to optically match Regular Italic B when used on light coloured surfaces.

33

ÀÁÂÃÄÅĀĂĄÇĆĈĊČĎÈÉÊËĒĖĘĚĜĞĠĢ ĤÌÎÍÏĪĮİĴĶĶĹĻĽÑŃŅŇÒÓÔÕÖŌŐŔŖŘŚŜ ŞŠȘŢŤÙÚÛÜŪŬŮŰŲŴẀẂẄÝŶŸỲŹŻŽ àáâãäåāăąçćĉċčďèéêëēėęěĝğġģĥìîíıīįï ìîíïıįīĵķķĺľļĺľļñńņňòóôõöōőŕŗřśŝşšșţť�ùúûü ūŭůűųŵẁẃẅýÿŷỳýÿŷỳźżž 34

Regular Italic B (Inverted Grade)

ABCDEFGHIJKKLMNOPQRSTUVWXYZ abcdefghiijkkllmnopqrstuvwxyyz 1234567890 (&!?@)[$¢£¥€]|\¦/-–— {·•+−±÷×=≠<>%#}*‚.,‘:’;“¡”¿„‹›«~»…_ ←↑→↓↘↙↗↖���� �� �� ������������������������������������������������������� Regular Italic B is my main Master for the italic weight.

Designed a fraction lighter for inverted use on dark coloured surfaces and to match the colour of Regular B.

35

ÀÁÂÃÄÅĀĂĄÇĆĈĊČĎÈÉÊËĒĖĘĚĜĞĠ ĢĤÌÎÍÏĪĮİĴĶĶĹĻĽÑŃŅŇÒÓÔÕÖŌŐŔŖ ŘŚŜŞŠȘŢŤÙÚÛÜŪŬŮŰŲŴẀẂẄÝŶŸ ỲŹŻŽàáâãäåāăąàáâãäåāăąçćĉċčď èéêëēėęěĝğġģĥìîíıīįïìîíïıįīĵķķĺľļĺľļñńņň òóôõöōőŕŗřśŝşšșţť�ùúûüūŭůűų ŵẁẃẅýÿŷỳýÿŷỳźżž 36

Semi-Bold A (Positive Grade)

ABCDEFGHIJKKLMNOPQRSTUVWXYZ aabcdefghiijkkllmnopqrstuvwxyyz 1234567890 (&!?@)[$¢£¥€]|\¦/-–— {·•+−±÷×=≠<>%#}*‚.,‘:’;“¡”¿„‹›«~»…_ ←↑→↓↘↙↗↖���� �� �� ���������� �������������������������������������������������������� Semi-Bold A is my main Master for the semi-bold weight.

Designed to emphasise Regular A on light coloured surfaces.

37

ÀÁÂÃÄÅĀĂĄÇĆĈĊČĎÈÉÊËĒĖĘĚĜĞĠ ĢĤÌÎÍÏĪĮİĴĶĶĹĻĽÑŃŅŇÒÓÔÕÖŌŐŔŖ ŘŚŜŞŠȘŢŤÙÚÛÜŪŬŮŰŲŴẀẂẄÝŶŸ ỲŹŻŽàáâãäåāăąàáâãäåāăąçćĉċčď èéêëēėęěĝğġģĥìîíıīįïìîíïıįīĵķķĺľļĺľļñńņň òóôõöōőŕŗřśŝşšșţť�ùúûüūŭůűų ŵẁẃẅýÿŷỳýÿŷỳźżž 38

Semi-Bold B (Inverted Grade)

ABCDEFGHIJKKLMNOPQRSTUVWXYZ aabcdefghiijkkllmnopqrstuvwxyyz 1234567890 (&!?@)[$¢£¥€]|\¦/-–— {·•+−±÷×=≠<>%#}*‚.,‘:’;“¡”¿„‹›«~»…_ ←↑→↓↘↙↗↖���� �� �� �������������������������������������������������������� Semi-Bold B is an interpolation between Regular B and Semi-Bold A. Tested to optically match Semi-Bold A when used inverted on dark coloured surfaces.

39

ÀÁÂÃÄÅĀĂĄÇĆĈĊČĎÈÉÊËĒĖĘĚĜĞĠ ĢĤÌÎÍÏĪĮİĴĶĶĹĻĽÑŃŅŇÒÓÔÕÖŌŐŔŖ ŘŚŜŞŠȘŢŤÙÚÛÜŪŬŮŰŲŴẀẂẄÝŶŸ ỲŹŻŽàáâãäåāăąçćĉċčďèéêëēėęěĝğġģ ĥìîíıīįïìîíïıįīĵķķĺľļĺľļñńņňòóôõöōőŕŗř śŝşšșţť�ùúûüūŭůűųŵẁẃẅýÿŷỳ ýÿŷỳźżž 40

Semi-Bold Italic A (Positive Grade)

ABCDEFGHIJKKLMNOPQRSTUVWXYZ abcdefghiijkkllmnopqrstuvwxyyz 1234567890 (&!?@)[$¢£¥€]|\¦/-–— {·•+−±÷×=≠<>%#}*‚.,‘:’;“¡”¿„‹›«~»…_ ←↑→↓↘↙↗↖���� �� �� ������������������������������������������������������� Semi-Bold Italic A is my main Master for the italic weight.

Designed to emphasise Regular Italic A and to match the colour of Semi-Bold A when used on light coloured surfaces.

41

ÀÁÂÃÄÅĀĂĄÇĆĈĊČĎÈÉÊËĒĖĘĚĜĞĠ ĢĤÌÎÍÏĪĮİĴĶĶĹĻĽÑŃŅŇÒÓÔÕÖŌŐŔŖ ŘŚŜŞŠȘŢŤÙÚÛÜŪŬŮŰŲŴẀẂẄÝŶŸ ỲŹŻŽàáâãäåāăąçćĉċčďèéêëēėęěĝğġģ ĥìîíıīįïìîíïıįīĵķķĺľļĺľļñńņňòóôõöōőŕŗř śŝşšșţť�ùúûüūŭůűųŵẁẃẅýÿŷỳ ýÿŷỳźżž 42

Semi-Bold Italic B (Negative Grade)

ABCDEFGHIJKKLMNOPQRSTUVWXYZ abcdefghiijkkllmnopqrstuvwxyyz 1234567890 (&!?@)[$¢£¥€]|\¦/-–— {·•+−±÷×=≠<>%#}*‚.,‘:’;“¡”¿„‹›«~»…_ ←↑→↓↘↙↗↖���� �� �� ������������������������������������������������������� Semi-Bold Italic B is an interpolation between Regular Italic B and Semi-Bold Italic A. Tested to optically match Semi-Bold Italic A when used inverted on dark coloured surfaces.

43

ABCDEFGHIJK STUVWXYZ12 abcdefghijklm wxyz.

Poster

KLMNOPQR 234567890 mnopqrstuv The Poster weight was designed as an expressive option for use on event banners, footpaths and car parks.

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Brisbane, the processâ&#x20AC;Ś

The most recognisable landmark of Brisbane City is the famous Story Bridge. Linking North with South, it was opened in 1940 and is the longest cantilever bridge in Australia.

Image by Nadine Shaw

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Concepts In the initial stages of my project I explored highway signage. You can see the influence in these sketches.

Considering my typeface was for pedestrian signs I realised I didnâ&#x20AC;&#x2122;t have the restraints of visibility combined with speed like I would with highway signage.

49

50

I explored designs based on the shape of the Brisbane River which you can see here.

I thought the ‘s’ shape might be a nice idea however I was unable to carry it through to the other letter-forms.

Main St

G Riverside H Holman St Eagle St Pier I J Thorton St B F O North Quay Dockside E Sydney St CITY C South Bank N M QUT D 1&2 Mowbray Park South L EAST Bank 3 BRISBANE 51 K River Plaza

k b n A R E

ne p G K

One of my technical requirements was to ensure each character was distinctive enough to avoid confusion at distances with other similar characters.

Through sketching and testing different alternates for particular characters I was able to choose which forms worked best together as a group.

Here shows a few characters and how they progressed from first sketches to the current forms.

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a.

b.

54 c.

d.

e.

Here I have produced sketches exploring different contrast levels, weights and character forms. a low contrast forms and double story ‘a’; b single story ‘a’ with more contrast; c a lighter weight option; d a bold option with small indents in the counters to open them up for legibility; e higher contrast; f an option with disconnected joins using the translation contrast model.

55 f.

Low cap height

Low contrast

Kagbargie keyfontsiv Large x-height

Narrow forms

56

Optical corrections

a Open counters

Typeface attributes Brisbane has a mix of stylistic and technical attributes.

A sans serif design was chosen to keep character forms as uncomplicated as possible and to portray the relaxed personality of the city of Brisbane.

Other stylistic features include a relaxed ‘y’ and ‘k’, and a single story ‘a’ and ‘g’. The flat top on the stem of the ‘a’ and ‘g’ morphs into a pointed feature in the italic.

A large x-height, low cap height and narrow character width allows for maximum

legibility when setting text tightly within limited vertical and horizontal spaces.

Many characters have been optically corrected to remove heavy spots and joins. A slight taper was used in diagonal shapes to lighten the joins with tight angles.

A single story ‘a’ and ‘g’ was chosen not only for their relaxed personality, but also to avoid the complex shapes of the double story versions which can be difficult to read at distances. See an overlaid example of the single and double story ‘a’ on this page.

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Stylistic alternates A set of stylistic alternates have been included to give the designer more control over the amount of character suitable for the orientation system they are working on.

The alternates available can be changed as a set or by individual glyph.

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Kailky Kailky

Standard set

Stylistic alternates

����������� �����������

Superiors Superiors have been created to allow for setting times and distances. Included are lowercase characters, numerals, arrows, currency symbols and some basic punctuation.

I tested the use of uppercase superiors but they didn’t offer enough contrast along side numerals at a distance to be useful.

The set also includes stylistic alternates.

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100

90

80

70

60

50

40

30

20

10

2 4 6 8 10

20

30

Distance in Metres

160

150

140

130

120

110

X-height in Millimetres

Proofing system As a part of my proofing system I developed this graph to test my typeface at different distances.

My testing for the optical grades was done at around 15 metres with an x-height of 50mm in average daylight.

The following page shows what the x-height and point size of Brisbane should be at a set distance.

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Bris

15mtrs 50mm / 284pt

Bri 18mtrs 60mm / 345pt

3mtrs 10mm / 58pt

12mtrs 40mm / 228pt

Brisbane

Bris

9mtrs 30mm / 170pt

Brisb

6mtrs 20mm / 115pt

Brisban

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8pt/10pt Brisbane’s recorded history dates from 1799, when Matthew Flinders explored Moreton Bay on an expedition from Port Jack, although the region had long been occupied by the Jagera and Turrbal aboriginal tribes. The town was conceived initially as a penal colony for convicts sent from Sydney. It’s suitability for fishing, farming, timbering, and other occupations, however, caused it to be opened to free settlement in 1838. The town became a municipality in 1859 and a consolidated metropolitan area in 1924.

9pt/11pt Brisbane’s recorded history dates from 1799, when Matthew Flinders explored Moreton Bay on an expedition from Port Jackson, although the region had long been occupied by the Jagera and Turrbal aboriginal tribes. The town was conceived initially as a penal colony for British convicts sent from Sydney. ItÆ’s suitability for fishing, farming, timbering, and other occupations, however, caused it to be opened to free settlement in 1838. The town became a municipality in 1859 and a consolidated metropolitan area in 1924.

64

10pt/12pt Brisbane’s recorded history dates from 1799, when Matthew Flinders explored Moreton Bay on an expedition from Port Jackson, although the region had long been occupied by the Jagera and Turrbal aboriginal tribes. The town was conceived initially as a penal colony for British convicts sent from Sydney.

It’s suitability for fishing, farming, timbering, and other occupations, however, caused it to be opened to free settlement in 1838. The town became a municipality in 1859 and a consolidated metropolitan area in 1924.

11pt/13pt Brisbane’s recorded history dates from 1799, when Matthew Flinders explored Moreton Bay on an expedition from Port Jackson, although the region had long been occupied by the Jagera and Turrbal aboriginal tribes. The town was conceived initially as a penal colony for British convicts sent from Sydney. ItÆ’s suitability for fishing, farming, timbering, and other occupations, however, caused it to be opened to free settlement in 1838. The town became a municipality in 1859 and a consolidated metropolitan area in 1924.

12pt/14pt Brisbane’s recorded history dates from 1799, when Matthew Flinders explored Moreton Bay on expedition from Port Jackson, although the region had long been occupied by the Jagera and Turrbal aboriginal tribes. The town was conceived initially as a penal colony for British convicts sent from Sydney. It’s suitability for fishing, farming, timbering, and other occupations, however, caused it to be opened to free settlement in 1838. It became a municipality in 1859 and a consolidated metropolitan area in 1924.

13pt/15pt Brisbane’s recorded history dates from 1799, when Matthew Flinders explored Moreton Bay on an expedition from Port Jackson, although the region had long been occupied by the Jagera and Turrbal aboriginal tribes.

The town was conceived initially as a penal colony for British convicts sent from Sydney. It’s suitability for fishing, farming, timbering, and other occupations, however, caused it to be opened to free settlement in 1838. It became a municipality in 1859 and a consolidated metropolitan area in 1924.

14pt/16pt Brisbane’s recorded history dates from 1799, when Matthew Flinders explored Moreton Bay on an expedition from Port Jackson, although the region had long been occupied by the Jagera and Turrbal aboriginal tribes. The town was conceived initially as a penal colony for British convicts sent from Sydney. It’s suitability for fishing, farming, timbering, and other occupations, however, caused it to be opened to free settlement in 1838. The town became a municipality in 1859 and a consolidated metropolitan area in 1924.

For spacing, kerning, punctuation, stylistic alternates and text colour I proofed in small sizes ranging from 8pt to 16pt. Proofing in large and small sizes was always a battle for me, as both required different solutions for weight and spacing. For this project I've tried to find a balance to suit both applications. In the real world I would treat the signage and text styles as individual typefaces and test them for their particular use.

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� ↖ ↗ � ← ↑ → ↓ � � � � → ↓ ← ↑

� ↙ ↘ �

Orientation devices In my concept stage I produced sketches for different orientation devices.

This page shows the arrows that are currently included in each style and weight.

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bnk� 68

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Pictograms Three essential pictograms are the first I chose to include in Brisbane to date.

They were specifically designed to harmonise with Brisbane’s informal character forms.

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Stencil numerals Based on my set of numerals for Brisbane, I created a stencil version for use on footpaths and vehicle parking.

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← Toilets ↙ Ferry Terminal

← Toilets ↙ Ferry Terminal

Brisbane Semi-Bold B

Stanley Street

StanleySOUTH Street BRISBANE SOUTH BRISBANE

Brisbane Regular B

↑ QUT Gardens Point Campus Botanic Gardens ↓ South Bank Parklands ↑ QUT Gardens Point Campus Grifith University Botanic Gardens IMAX Cinema Complex ↓ Brisbane State High School

↓ South Bank Parklands Grifith University IMAX Cinema Complex ↓ Brisbane State High School The Goodwill Bridge, opened in 2001, is a pedestrian and cyclist bridge linking South Bank Parklands on the southside with the Queensland University of Technology on the northside.

Image by Nicholas Martin BCC

Brisbane Regular B

Typeface in use The next few pages are examples of Brisbane in use. Brisbane is designed for pedestrian wayfinding systems similar to these examples.

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Brisbane Semi-Bold B

Brisbane Regular B

Brisbane Regular B

Brisbane Semi-Bold B

Brisbane Semi-Bold B Brisbane Regular B

Brisbane Regular B

Brisbane Semi-Bold A

Brisbane Semi-Bold A Brisbane Regular A

Brisbane Semi-Bold B Brisbane Regular B Brisbane Regular Italic B

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Brisbane Semi-Bold A stencil numerals

�� City Cat Brisbane SemiBold Italic A

Victoria Bridge, South Bank Parklands, Brisbane.

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Brisbane Regular Italic B

← Queensland Art Gallery

� 5����

→ Fortitude Valley Mall

� 25����

→ Kangaroo Point Cliffs

� 15���� Brisbane Regular A

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RUBY ROSE MITZI

ASHTON SHUFFLE

MUSCLES

Brisbane ‘Poster’

Valley Fiesta

2013

FLUME

To my teachers at KABK: Françoise Berserik Peter Biľak Petr van Blokland Erik van Blokland Frank Blokland Paul van der Laan Christoph Noordzij Just van Rossum Peter Verheul Jan Willem Stas

To my t]m 2013 classmates: Tania Alvarez Zaldivar (Mexico) Étienne Aubert Bonn (Canada) Barbara Bigosińska (Poland) Maria Doreuli (Russia) Sun Helen Isdahl Kalvenes (Norway) Adam Katyi (Hungary) Diana Ovezea (Romania) Krista Radoeva (Bulgaria) Lukas Schneider (Germany) Teo Tuominen (Finland) Bernd Volmer (Germany)

Thank you…

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For valuable software by: Frederik Berlaen [RoboFont & UFO Stretch] Erik van Blokland [Superpolator] Tal Lemming [Prepolator & Metrics Machine] To other contributors: Jo De Baerdemaeker Ken Barber Paul Barnes Luc(as) de Groot Akira Kobayashi Fred Smeijers

Troy Leinster is a self-employed graphic designer originally from the city of Brisbane, Australia.

Before studying TypeMedia at KABK, Troy attended the type design unit at Monash University in Melbourne, followed by the condensed type design program at Cooper Union in New York.

Image credits: Nadine Shaw www.nadineshaw.com Nicholas Martin www.youwillconsume.com Notes: ďż˝ History of Brisbane wikipedia.org/wiki/ History_of_Brisbane

Email: troy@artspoken.com.au Twitter: @7roy

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Brisbane by night.

Image by Nicholas Martin

�� City Cat

� 25����

Queensland Art Gallery

� 30����

Fortitude Valley Mall

� 45����

Kangaroo Point Cliffs

Superiors for time & distances

Brisbane is a relaxed, self-assured sans serif designed specifically for pedestrian wayfinding in the city of Brisbane, Australia. The family has a range of three weights in five styles plus accompanying optical grades for inverted use. This makes Brisbane a solid candidate for orientation systems in the city or suburb.

OpenType features include superiors for setting times and distances, and a set of stylistic alternates for use in1 smaller sizes.

A selection of pictograms and orientation devices have been designed to harmonise with Brisbane’s informal character forms.

Regular A (Positive Grade) Regular B (Inverted Grade) Regular Italic A (Positive Grade) Regular Italic B (Inverted Grade) Poster

Troy Leinster, Australia | TypeMedia 2013 | Twitter: @7roy

Semi-Bold A (Positive Grade) Semi-Bold B (Inverted Grade) Semi-Bold Italic A (Positive Grade) Semi-Bold Italic B (Inverted Grade)