type specimen

Friendship Ended With Futura

Well I thought it was funny at least……..

As I said about my other type specimen posters, I just hadn’t come up with an idea that really felt like “the One”. So I left it, I mean, I have a week to finish it, right?

I was browsing reddit when I came across this image of a test receipt and my brain had an “aha!” moment. I knew what I was gonna do for my poster!

Cue me rummaging through my room looking for discarded receipts. I did manage to find a few, and I liked the layout of one in particular. This type specimen poster is designed based off a receipt from Spar I had from September. (I got OJ and a sandwhich.)

I knew the type would have to be sans serrif, so my only two choice were Akzidenz-Grotesk and Futura. I had already messed around with some Futura designs, and after some more fiddling I decided it wasn’t gonna cut it for this design. So I went with Akzidenz.

7

Didier Stable • Spécimen, 03.—11.2015 • 48 pages, 180 × 250 mm.
Travail mené sous la direction de Michel Derre & Franck Jalleau.
Analyse du personnage et écriture sous l’égide d’Erell Guillemer et Léa Walter.

[…] Didier est logiquement devenu le nom du caractère. Stable, celui de la fonte. Plutôt que regular ou bold, stable me permettait de définir une attitude tirée de celle du personnage.

Comme point de départ, j’avais extrait des traits physiques remarquables et qui semblaient moteur dans le dessin d’un caractère. Au final, le gabarit de la lettre est généreux. La chasse est large, et c’est ce qui assoit la lettre, ni vraiment ronde ni vraiment carrée comme la corpulence de Didier.

Son front épais, qui pèse sur ses yeux, m’a inspiré le traitement inversé des graisses : cela à pour effet d’alourdir la partie supérieure de la lettre qui vient donc peser sur sa contreforme, aussi appelée œil.

Enfin, cette typographie n’est pas très élancée, les ascendantes et descendantes sont relativement courtes, et rien n’est droit ni lisse : la lettre est musclée, incarnée, robuste. Les terminaisons sont verticales et tranchantes comme la franchise du personnage.

Des empattements rectangulaires et épais viennent parfois stabiliser les glyphes et donnent à la fonte un aspect de monochasse. Le monochasse est têtu dans sa façon d’uniformiser l’encombrement des lettres. Mais dans cette fonte, ce n’est qu’une apparence. Didier n’est peut-être pas si buté et rigide qu’on pourrait le croire…

I Decide Join the ISTD Competition in 2014

The examples of type specimen’s design.

Woo, it is a big decision to join the ISTD graphic design competition for me. This is about to design a type specimen of the Monotype for the future. The purpose to get involved is to my life as a master of art. Honestly, it is tough for our MA student because too many writing works need to be done by the end of January. But, the headline of this competition is 21 February 2014.

In the brief, several designers use multi-dimensional approaches to make type specimen. From the brief: This specimen could utilize media ranging from printed page to performance or from digital to environmental – it is up to you, but language and communication are the keys to how we engage with the visual and textual world. For me, I’m researching pop-up book now, so my idea is to create a tridimensional approach to show “flat" type specimen.

I will design a pop-up book to showcase Monotype’s type specimen. At this moment, I am starting to research how to fold paper to show typeface, and looking forward to use different materials to design a pop-up book. I will cherish this opportunity, wish a good design, even the time is jammed.

Date: 25/11/2013