EMILY

JANE

STANCER

U1256843

ARTISTTYPFACE

01

02TYPOGRAPHYWHAT IS TYPOGRAPHY?

The art or process of setting and arranging types and printing from them.

The style and appearance of printed matter.

Some of the most important typographic considerations the professional designers needs to take into

account:

01. Size02. Measure03. Leading04. Hierarchy and Scale05. Tracking and Kerning

03THE ANATOMYOF TYPE.1. Bowl2. Stem3. Counter4. Arm5. Ligature6. Terminal7. Spine8. Ascender9. Apex10. Serif11. Ear12. Descender13. Crossbar14. Finial15. Ascender height16. Cap height17. X-height18. Baseline19. Descender line

04RESEARCH & EXPERIMENTS

STEFANSAGMEISTER

Stefan Sagmeister (born 1962 in Bregenz, Austria) is a New York-based graphic designer and typographer. He has his own design firm-Sagmeister & Walsh Inc.in

New York City.

In Sagmeister's “Thing's I have learned in my life so far” he has short booklets full of experimental type. One of my favourites is the sugar experiment which I

will show an example of with my version alongside. The booklet is full of maxims that Sagmeister has learned throughout life, and this maxim is- “If I

want to explore a new direction professionally, it is helpful to try it out for myself first.”

I really love how Sagmeister uses objects to create type. He thinks outside of the box to create innovative ideas in typography. He's also not afraid to try large scale experiments, and when they work

out, they are amazing.

05MY EXPERIMENT'S SAGMEISTER'S SUGAR

TYPE

FOR THE WORD “TYPE” I USED PEPPER, AND FOR THE WORD “EXPERIMENT” I USED SALT. IT MAKES THE TYPFACE MORE FUN AND

LIGHT HEARTED, AND IT'S ALSO AN EFFECTIVE WAY TO START ENJOYING THE CREATIVE PROCESS OF TYPE.

TO THE LEFT THERE ARE TWO EXPERIMENTS I DID AFTER SEEING SAGMEISTER'S PIECE ON THE RIGHT. AFTER GETTING CONSENT FROM A FRIEND, I PAINTED ON THEM MY CHOSEN MAXIMS. I USED PAINT INSTEAD OF CUTTING THE SKIN, OBVIOUSLY BECAUSE I DIDN'T WANT TO CAUSE ANY HARM TO THE VOLUNTEER. BUT IT SHOWS MY RESPONSE TO SAGMEISTER.

06

07POP ARTANDY WARHOL

Andy Warhol (August 6, 1928 - February 22, 1987) was an American artist who was a leading figure in the visual art

movement known as pop art. His works explore the relationship between artistic expression, celebrity culture and

advertisement that flourished by the 1960s. After a successful career as a commercial illustrator, Warhol became a renowned

and sometimes controversial artist.

I have always loved the contrasting colours of Warhol's work. His work stands out from anyone else's, and it has

landed him the fame of his own style of art. Everyone knows when they are viewing a Warhol piece of art, as his style is so famously well known. My two

favourite pieces of his are the Zebra and Monroe on the next page.

WARHOL 08

09MY ROUGH EXPERIMENTS

HERE ARE SOME ROUGH EXPERIMENTS FOR MY

INTERPRETATION OF WARHOLS WORK. I CHOSE 2 CONTRASTING COLOURS TO WORK TOGETHER.

THE BACKGROUND COLOUR IS A WATERCLOUR, AND THE LAYER ON

TOP IS OIL PASTEL. THE LETTER A WORKED BEST IN MY POINT OF VIEW AS THE COLOURS CONTRAST MOST

HERE.

10MORE EXPERIMENTS FOR POP ART

HERE I USED LAYERED TISSUE PAPER AND OIL PASTELS TO CREATE THE EFFECT ACHIEVED. I LIKE THE WHITE OIL PAS-TEL ON THE BLUE TISSUE PAPER. THIS COULD BE A POSSIBLE DIRECTION TO

TAKE.

11CUBISMJUAN GRIS

Juan Gris was a Spanish painter and sculptor who lived and worked in France most of his life. His works, which are closely connected to the emergence of an innovative artistic genre- CUBISM- are amongst the movement's most

distinctive.

I really like the bright colours Gris uses through-out his work. It makes his works eye catching and in-teresting. Also, the shapes and lines entwined within his work give them a quite abstract feel and depth.

12GRIS' WORK

JUAN GRIS USES MANY LINES WITHIN HIS WORK. THIS CREATES CERTAIN SHAPES AND DEPTH WHEN SHADOW IS ADDED. THE SHADOWS CREATE A DYNAMIC PIECE OF ART WHICH DRAWS THE VIEWER IN AND MAKES THE WORK MORE

INTERESTING.

MY INTERPRETATION 13WHEN INTERPRETING GRIS' STYLE, I FIRSTLY TOOK SECTIONS OF HIS WORK OUT AND MADE THEM INTO LETTERS, SUCH AS THE RED 'A' AT THE BOTTOM LEFT OF THE PAGE.

I THEN BEGAN TAKING A MORE TYPOGRAPH-IC APPROACH, AND CONCENTRATED ON THE STRAIGHT LINES USED WITHIN CUBISM. I PRACTISED ON 'A, B, C, D'.

PABLO PICASSO 14

Pablo Picasso (25 October 1881 - 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist, and stage designer who spent most of his adult life in France. As one of the greatest and most influential artists of the 20th century, he is widely known for co-founding the Cubist movement, the invention

of constructed sculpture,the co-invention of collage, and for the wide variety of styles that he helped develop and explore.

Picasso's work is ever so easy to differentiate from others. Although other artists adopted the same kind of styles as Picasso, Picasso's work is always easy to spot, even to the untrained eye or people who have no interest in art. That, to me, shows a great artist with amazing skill,

technique and style.

PICASSO'S WORK

15

I HAVE CHOSEN TWO VERY FAMOUS PICASSO PIECES. YOU CAN SEE THE USE OF ODD SHAPES TO MAKE UP OBJECTS, FACES AND BODIES IS A BOLD CHARACTERISTIC IN HIS

WORK.

MY INTERPRETATION 16

HERE ARE MY ROUGHS OF TYPE IN PICASSO'S STYLE OF WORK. USING BRIGHT COLOURS AND LINES, I FEEL I HAVE TRANSFERRED PICASSO'S STYLE WELL IN THE IMAGE TO

THE LEFT. I USED OIL PASTELS FOR THESE ROUGHS, AND I FEEL THEY WORKED WELL FOR THE

STYLE.RUNNING THROUGH THE MIDDLE OF THE PAGE ARE SOME VERY QUICK DIGITAL

EXPERIMENTATIONS OF PICASSO'S WORK I DID.

17SURREALISMSALVADOR DALI

Salvador Dali was a prominent Spanish surrealist painter born in Figueres, Spain. Dali was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painting skills are often attributed to

the influence of Renaissance masters.

Salvador Dali was highly imaginative, and also enjoyed indulging in unusual and grandiose behavior. His eccentric manner and attention-grabbing public actions sometimes drew more attention than his art-

work.

I love the surrealism in Dali's work. It's so imaginative, that it captures the imagination of the viewer.

SALVADOR DALI'S WORK

18

HERE ARE TWO OF MY FAVOURITE DALI PIECES. I LOVE THE IMAGINATIVE WAY THAT DALI WORKED.

MY INTERPRETATION OF DALI

19

HERE I HAVE ADOPTED DALI'S MELTING STYLE. I HAVE JUST DONE REALLY ROUGH VERSIONS OF MY IDEA, BUT I LIKE THE

IDEA OF MELTING FONTS.I JUST USED A SIMPLE DRAWING PEN TO DO THESE QUICK

SKETCHES.I WOULD LIKE TO TAKE THIS FURTHER AND SEE WHAT KIND OF

FONT CAN BE MADE FROM THIS STYLE.

20POINTILLISMGEORGES SEURAT

Georges Pierre Seurat (2 December 1859 - 29 March 1891) was a French Post-Impressionist painter. He is noted for his innovative use of drawing media and for devising the technique of painting known as pointillism. His large-scale work A Sunday Afternoon on the Island of La Grande Jatte altered the direction of modern art by initiating Neo-impressionism. It is one of the icons of late 19th-century painting.

Pointillism is a technique of painting in which small, distinct dots of pure color are applied in patterns to form an image. Georges Seurat and Paul Signac developed the technique in 1886, branching from

Impressionism. The term Pointillism was first coined by art critics in the late 1880s to ridicule the works of these artists, and is now used without its earlier mocking connotation. Neo-impressionism and Divisionism

are also terms used to describe Pointillism.

I really love how paintings in the Pointillist style mostly look like a well painted, figurative painting

from a distance. But as you lean closer to the painting, you can see the carefully placed dots of

paint used to make up the painting.

21GEORGES SEURAT'S WORK

I really love how paintings in the Pointillist style mostly look like a

well painted, figurative painting from a distance.

But as you lean closer to the painting, you can see the carefully placed dots of paint used to make up

the painting.

22PAUL SIGNAC& HIS WORK

Paul Victor Jules Signac (French pronunciation: (11 November 1863 -15 August 1935) was a French neo-impressionist painter who, working with Georges Seu-

rat, helped develop the pointillist style.

23MY INTERPRETATION

HERE ARE MY ROUGHS FOR MY INTERPRETA-TION OF SEURAT'S WORK. THE TOP TWO IM-AGES I DID USING WATERCOLOURS, THE BOT-TOM LEFT IS A QUICK PHOTOSHOP PIECE I

DID USING THE BRUSH.I THINK THE WATERCOLOURS WORKED WELL,

ESPECIALLY THE TOP LEFT. I LIKE HOW THE PINKS AND BLUES SMUDGED TOGETHER.

24My 3 chosen artist's

Salvador Dali

Pablo Picasso

Stefan Sagmeister

I have decided to experiment more deeply into these three artists to demonstrate there suitability for

transcription into a typeface.

25PabloPicasso font.For this Picasso font I focussed on the straight line cubist approach. It is very simplistic as far as design goes, but I believe I have created a

26

^NORMAL <FONT

27

COLOUR VERSION

DIFFERENT SIZES

NORMAL

ITALIC

BOLD

28Salvador Dali Font.For this font I focussed on creating a dripping effect throughout the font. This was inspired by Dali's Melting

29

< ^ NORMAL FONT

30NORMAL

ITALIC

BOLD

DIFFERENT SIZES

COLOUR

31Stefan Sagmeister Font.

I did lots of experimental work leading up to the Sagmeister font, all through inspiration from Sagmeister's Thing's I have learned in my life so far. Above is condensation wiped off a window to create type, and the

use of various fonts on skin.

32More Experimental Work.

Final Experimental Work.

33

34Stefan SagmeisterFont.

For the Stefan Sagmeister font, I didn't want to create a digital font. It seemed silly to create a digital font if I was creating something inspired by Sagmeister. So I chose to do an experimental font using different materials and resources to create the alphabet. Here's a list of the things I used:A- Coins.B- Toothpaste.C- Matches.D- Dominoes.E- Toy Soldiers.F- Candles.G- Tea Leaves.H- Ketchup.I- Tea Spoons.J- Orange Segments.K- Hair Grips.L- My Hand.M- Blue TackN- Bracelet.O- Shaving Foam.

P- Chocolate.Q- GrassR- Dog Biscuits.S- Grapes.T- Twigs.U- Lego.V- Glass.W- Marbles.X- Toy Cars.Y- Toothbrushes.Z- Plectrums.

35

36favouriteletters.

37

refinement. 38For the final font, I wanted to use the Salvdor Dali font. However, after looking at the font and asking peers for opinions, I realised that the current font was a slightly too cartoonized. I think there was too many paint drips and the font was

too curvy. I decided to do a much straighter, modern font with less drips.

before refinement- uppercase

after refinement-uppercase

after refinement-lowercase

before refinement-lowercase

39FONT VARIATIONS.

BOLD

NORMAL

COLOUR

ITALIC

40On the right there is a variety of different sizes of the font. The sizes were done randomly by me, but I will be doing specific point sizes too.I also typed the phrase below to see if the font works in everyday text. I believe that it does, and that it does work at different sizes too.

41

60 PT

72 PT

84 PT

To the left is my Final Font. I believe that the font works really well and that I've responded to the brief in the correct manner as I've taken inspiration directly from Salvador Dali.

The bottom right shows the font working at different point sizes. I've used the sizes that werea asked for on the brief; 60, 72 & 84.

I believe that the font works well at all sizes as the melting effect can be seen at all sizes. Overall, I am very happy with the outcome of the font.

Final Font.

42

For the letters V and W, I decided to change the drips slightly, and so I faced them upwards. This stuck to the surrealist theme inspired by Salvador Dali really well. Even though the font isn't screaming out Salvador Dali, I'm pleased that I have managed to take inspiration from an artist, and then make a font unique and my own, with a hint of their

style too.

43Existing FontBureau Covers.

44Development Towards Cover.

Here I began de-signing vari-ous covers for the Font Bureau book. I wanted to design a few so that I could choose the best one out of all

the designs. Per-sonally, I like the fourth design as it's really

eye catching and simple.

45

Final Experiment. 46

47Final Cover

Design.

Here is the final design I chose to use for the Font Bu-reau Book Cover. I wanted to

design a cover that was unique instead of just copying the

usual type of cover that the Font Bureau creates. I kept

factors such as the apostro-phes that get used on most of

them.

48Existing Fonts.

49Website Design.

Here I have designed what I think my Font would look like on the Font Bureau Website.

50

Here I've done a bet-ter version of the website/style sheet. I've included more el-ements so that clients can see every aspect of the font. I included The Quick Brown Fox quote to show how the font works in a sentence, I also included the full alphabet and the variations of normal, italic, colour and bold.

Final Website.

51Advertisement

For the advertisement I decided to do a couple of ex-periments before publishing a final advert. Firstly I looked at using the piece of work which mainly inspired the font. Then there is a much wider understanding of

why I created the final font.

52

I didn't really like the first experiment I did, so I decided to take a much more up to date approach. Displaying the alphabet lightly in the background and then using a bold title of Dali, I felt worked re-ally well. I then explained at the bottom how I achieved the typeface and where it could be used.

I have decided this will be my final advertisement.

FinalAdvert.

THE END.

EMILY JANE STANCER