T Wins

RvsT

Process Angela Valera

Communication is key. “Personal communication has undergone a revolution.”(Sheifer) Instead of writing a note, one can just send a text message or send an email. Technology has made it possible for us to communicate with each other more efficiently with the minimum amount of effort. Software corrects our mistakes (spelling and grammar), so we don’t have to worry about silly things like that any more. Not only how we communicate has changed, but also the way we speak/type/write back and forth to each other. We use slang and abbreviations to shortening the time we spend texting some one back. Why waste time writing out each letter for each word when you can say a simple phrase with only 3 or 4 letters, such as, ttyl, omg, brb, lol, lmfao, nbd, etc. This way of connecting with each other has definitely effected the way we orally communicate with one another. If you don’t believe this to be true, ask yourself when the last time you had a casual conversation without using any slang or “lazy” speech.

When starting research I looked at different ways I personally communicate with my friends and family. I text, e-mail facebook, twitter, and way back when I didn’t have a cell phone, my friends and I would send handwritten notes back and forth in and between classes. I found some of these old notes that my friends have given me, and the letters and content I found in the notes was very interesting. Abbreviations were used in these notes just like how they are used now in texting and chatting online.

Creating this typeface I wanted to draw attention to similarities and differences between the digital and handwritten communication. I started placing my own handwriting over typefaces that were made for the web (Arial, sans serif and Georgia, serif). To get a variety of forms, I started to trace over letters I found in my friends notes and layered each individual friends’ handwriting over the two web-safe typefaces I chose to work with. I ended up with five sets of handwritten letters and two sets of web-safe. Each layered letter made a very interest overlaps. Transparency was used to better see the intersection between each letter form. After accomplishing this I decided to take a clipping mask over each of these elaborate letters. The clipping mask was the web-safe typeface, Arial. The idea was to see the intersections happening within the sans-serif typeface.

Thomas Jung-Famous Hair Process

I started this project with the idea of fame and I began to look at how celebrities are often turned into these objects of almost godly status. I also began to look at major celebrity icons and how they influence people in many ways whether it is in clothing, actions, style or hair. Celebrities are often the start of major trends in the fashion and style world because people want to emulate them. One of these trends that I thought would be interesting are the hairstyles that the celebrities have made popular; even if they are short-lived.

While doing research for famous hairstyles I found everything from the good, to the not so much. I started to compile these images of hair and I tried to get a wide variety of styles. I then decided that I wanted to reduce these celebrities to their luscious locks. I wanted to literally turn the icons into icons. I compiled a list of 26 “celebrities,” one for each letter of the alphabet to create some sort of symbol set. Once the list was compiled I put the images into illustrator and started tracing them, but these were not looking very good, they had no style to them. So I went pre-digital and got out the pencils and paper. I started by tracing the hair and then I eventually sketched each hairstyle.

Now I am in the process of going back to the digital. I am working on scanning in the sketches and turning them into vector files. I am also working on choosing a different typeface for each typeface to fit the personality of the celebrity. Once the fonts are chosen I am going to place the hair on the letters and create a set of hairstyle caps that can be used for initial caps. The detail and variety of hair would make this a very impractical body type.

For my final output I am not exactly sure how I want to present this. One idea is to create an alphabet book with “A is for Aniston” and maybe a little information about each person. I am not set on this idea and I am trying to think of something better. I’m not sure if I should try to make it look like glitzy Hollywood or do something plain and total opposite.

Process and Thesis - Katie Belanger

For the past several weeks I have been developing an icon system to represent the endangered wildlife that is being threatened and pushed to extinction due to our human expansion and wasteful consumer habits. I am trying to make people aware that their daily actions do have an impact on our world, not just the giant corporations and manufacturing plants; to make people realize that we are all responsible and held accountable. I have been interested in the decrease of biodiversity and the present "mass extinctions" that have been occurring at an alarming rate since I heard over Thanksgiving break that the tiger may become extinct by the year 2012. I found this to be truly distressing news.

I wanted my icon series to be a simplified, stylized version of their real-life counterparts, using the WWF logo as a goal. My process for drawing these icons began first with images of the animal and an initial, detailed trace. I then took this tracing and, with another color, started breaking down the natural forms into more geometric shapes to be refined. Once I began work on my first design, the Blackburnian Warbler, I started to look at the illustrator Charley Harper's work and was very inspired by his simplified animal prints. After I had completed my first icon, I used it as a basis for the rest, using the same visual language and shapes, attempting to create a unified, cohesive icon system that works apart and as a group.

For my final form I plan on creating stencils of my icons and printing them, guerrilla art style, on various objects that relate to the destruction of the animal and places of industry that stand out as sites of human consumer and commercialism. For example, sea turtles have been hunted for an oil that they produce ("turtle oil") which is then used in various cosmetics. I would then print a stencil of the turtle icon on a compact of blush, so that every time one uses the product they are brushing away and erasing that animal. I will use photo-documentation to display this work, perhaps in a re purposed book.

Process and Thesis - Wayfinding in the Union

My project deals with the legibility and usability of the way finding system in the UWM Union.  The way finding system currently implemented in the Union is very disorganized, inaccurate, and attempts to “band aid” the past inaccuracies of the system.  However, these band aids are never taken off, so the wounds are just becoming infected, and the system is becoming worse and worse because of the inconsistencies.

My process originally started with way finding in malls, specifically looking at mall maps.  I shifted to something that would be more easily accessible for me, and something I use daily.  I started by looking at the directories, signage, maps, and floor names.  I instantly saw inconsistencies, such as the same floor being called the ‘lower level’ and the ‘basement’.  I also noticed restroom signs that had no symbol along with them.  What if someone can’t read? I believe we need to be more aware of catering to those with disabilities rather than just the majority.

In order to more accurately identify what is important to the students that use the union, I met with Scott Gore, the Union Director.  In the 2008 and 2009 Union Annual Survey, students were asked the question “If the UWM Union was to expand/renovate, what additional programs, services, or amenities should the Union Offer? (Check up to 3)”  In 2008 the top response, with 654 responses was to add additional seating.  In 2009, this was also the top response, with 548 responses.  Others that were deemed important are quiet/private areas, TV lounge, and additional meeting room space.

With these results, I’ve established what is most important to the students, and what should be more obviously identified on signage.  To identify some of the main “attractions” on each floor, I’ve decided to use the Noun Project as my symbol set.  However, I have found that this project does not include everything I want to use.  To solve that, I have started to create some of my own symbols that match the Noun Project, in which I may be able to submit to them in the future.

 

I’ve also looked at renaming the floors because of the “dual names” some of them have and the confusion that they cause.  To do so, I want to completely avoid the names currently in use.  I settled on Z, A, B, C, and D.

I want my final output to be in the form of a poster that will show samples of the directories and signage, but will also incorporate images of the Union with the signs being implemented.

Samantha Korthof - Process Writing

My typeface has developed through an ebb and flow kind of process. Each exploration I have done has lead me to my final piece, however it could not have happened without a bit of backtracking, random tangents and changes in plans. For example, I found that in order to bring my typographic travels to China, I had to first visit France.

I chose my topic of Chinese writing systems because I am currently taking a Chinese Art History class, which I immensely enjoy. I knew that the information I’m learning in that class could easily apply to my typeface, and make my experience better in both classes. I was so set on that idea that I didn’t consider how much of a challenge it would be to try to channel a culture which is not my own.

My research explored ancient Chinese writing as well as modern. I learned about how the characters are composed today, and how they became that way. I looked at calendars, charts, poetry, paintings… and still, even with all this knowledge, I couldn’t quite figure out how to make a good typeface with a Chinese influence. (The term “good” is important because I could easily make a terrible typeface constructed out of a couple copied brush-strokes. This was not my goal.)

Once I got to experimenting with form, I found that it was a lack of experience with a calligraphy brush and ink that was getting in my way, as well as my preconceived notions of what a “good” typeface is. As a person who is naturally attracted to rules, symmetry and simplicity, my forms just did not look Chinese enough. I let previous experiences with type influence my forms too much. So I scrapped those sketched forms and invested in a couple brushes and some sumi ink. I painted plenty of letterforms in a watercolor sketchbook, but I was still missing something. My forms were still too limited. It was enough of a challenge to paint the letterforms, let alone with a Chinese influence.

When it came time to critique my progress, the class agreed that I needed to loosen up and experiment more. It was then that I had the idea to paint large letterforms while intoxicated. So the following Friday night, with ink in one hand and a glass of rum and coke in another, I took to my large pad of newsprint. I blared music and painted the lyrics I heard. Because I was intoxicated, I let myself make mistakes. I didn’t over-think what I was creating, and because of this, my night was a success. None of the forms I made that night ended up in my final alphabet, however it was a much-needed lesson in loosening up.

After reviewing the letters I created that night, Bethany and I noticed that the forms written while listening to French music were more appealing than the others. I considered redirecting my typeface to have French influences, and I tried to write more while listening to French music. However, I was rather disappointed with myself for giving up on the Chinese approach, given all that research I had done. I gave Chinese writing one more shot, and while listening to the soundtrack to The Way of the Samurai (which ironically was set in Japan, starred an American actor and was composed by a German man—but at least had Asian instruments)…

the forms finally surfaced from the pool of my consciousness.

What I painted that day are the closest to my final typeface. I am quite pleased with how they’ve turned out, and I’m glad that I gave my original concept one last chance.

My current final form is anything but final—truth be told, I tried out what I thought would be an interesting enough design, but it feels as if it’s lacking. I will continue to modify. What it is at this moment is a snippet of translated Daoist texts. I find the words to fit my process quite well because I had to discover my personal habits (the self) with the brush before I could create the forms I wanted. It’s placed upon an image of rice paper. There are many words to this excerpt, however it only covers about 18 letters, with just one capitol. Perhaps I can still develop this into something worthwhile…

"Amelia"

Braille is something that I feel is very unnoticed in our society. The blind make up only about .3% of our population, but that’s .3% of our population that is blind. My idea for creating a font that includes Braille first started when I was volunteering at the Milwaukee Art Museum. I began to wonder how blind people experience art. Through class idea exercises and brainstorming, the idea of a Braille font emerged.

I will be naming my font, “Amelia”, after my blind friend who has helped make my font successfully “readable”. My main focus is to create a font that is both legible to those who can see (by using sight) and to those who cannot (by using touch); viewer vs feeler, so to speak. Amelia will be a bold lowercase font to accommodate for the overlap of the Braille. The placement of the Braille on the letters was a concern. After talking with Amelia, she informed me that because of its 6- grid system, Braille needs to maintain a consistent baseline or it could be interpreted as a different character. So far, that has proven to be the biggest challenge. Obviously, no letter is the same; so maintaining that consistent baseline is not easy.

My final piece will be in poster form. The letters will be laser cut. I will then put a backing on the poster, which will make the outline of the letters identifiable. I will use a french sewing knot to create the Braille marks. By using thread, I can experiment with different colors to add more visual appeal. I also want this font to teach. I will show the empty circles within the 6-grid system on each letter. This way, the “viewer” can then see which Braille character goes with what letter. Vice versa, the “feeler” will also be able to learn the outline of the physical letterform that goes with the corresponding Braille character. I am the excited to see the final result!

french knots!

Letters made out of french knots. These are the knots I plan on using to create my braille over my typeface. Thought it was fun that they created letters out of them. I'm sure my friend, Amelia, would be able to identify these letters. I love the numerous color possibilities and the texture (both visually and physically) that these knots create.

here is the website: http://inthewabe.wordpress.com/2010/05/17/embroidered-french-knot-monograms/

Statement of Process and Thesis ~ Scott Carlson

My project deals with the readability and reduction of confusion on road signage. Currently, our highway wayfinding has 16 fonts (8 fonts are being re-introduced) while almost every other country has two fonts, one medium and one regular. Our color scheme is varied depending on the state and the time of up-keep. Most directional signs are green with white, but as of 2005, some are blue with white font, or white with black font. This is very confusing because there is no real color coding, except for brown/white indicating state forests. Another issue is that multiple companies are making these and other signs for federal, state and local governments, resulting in different variations on signage pushing the already lax regulations and charging high amounts for the manufacturing. By simplifying the signage and making one universal symbol for something, travelers will know what each sign means despite their location. As a "melting pot" of the world, we do have foreigners her that vacation, work, and live in the U.S. Despite some who say that "we are American, we speak American," I fell that if we removed wording from all signage, except directional and street name signage, this would not only simplify our wayfinding, but would welcome more guests and workers, all contributing to a better society. Lastly, I will address readability on signage. If you ever visit a city or town that you have never visited before, you will know that trying to find, and get, to your exit can be impossible in heavier traffic. I want to install a system of early warning signage for exits and towns so that we can reduce panicked lane changing, continuous blinkers, and car accidents.

My first step was to identify what our current system is. I found that we used up to 16 different color combinations and 18 fonts. I then decided to see what other industrialized countries were doing. I found that all English speaking countries used Transport font.They also used a universal symbol for a warning sign.

Step two involved choosing highway directional sign colors to identify Interstate, Highway, and local roads. I then chose to use the Transport font to keep things simple and universal

Once I chose the color schemes, I went on to design icons that would be used instead of wording to minimize the amount of text on these signs. I also began working on how to remove all wording on street and warning signs.

The fourth step involved researching. Researching, researching, researching. I studied the process of making a sign, who made them, what reflective material is used, who can be effected by certain color schemes, how are placements decided, highway sign structure, and what stuffy old person can I upset the most with these ideas.

Once I figured out that the research really has no scientific or medical data to back up the current findings, I set about setting up my own raw data. Asking people of various ages what it is they wanted to see.

I then began rough 3-D concepts for these designs. Mostly highway signage placement as well as speed limit, warning and directional.

As of right now my final form is as seen here. I do plan to place the overhead signage onto actual photos of local highways and streets to help visualize the signage. Blue backgrounds will indicate Interstates, Green will indicate state highways, and white will indicate local streets. Speed Limits will be bordered in red with colored backgrounds to help indicate what the driver is on in between signage. Black will indicate night driving, if necessary. All overhead signage will have something over each lane and the exits will have the proper color coding.

New from Abbott Miller

http://pentagram.com/en/new/2011/03/new-work-ink-collection-for-kn.php

Pentagram, Emotional Type

Emotional Spell-Check from Pentagram on Vimeo.

Chartwell, the infographics font

http://kottke.org/11/03/chartwell-the-infographics-font

Tentative Groups

After deliberating with myself this is what I have determined.

Group One 1 Near … Far Type (Scale and Narrative)

Beauchesne, Taylor - working on type design/childhood dreams

Korthof, Samantha - working on typeface design/brush script

Zimmerman, David - working on typeface design…

Group Two 2 Visual & Tactile Type (Find, Make, Feel)

Brakke, Alyssa - working on type design/braille/tactile 

Valeri, Angela - working on typeface design juxtaposing the digital and analog

Dolezar, Kyle - working on library wayfinding

Group Three 3 Interactive Type (Semiotics and Interaction)

Short, Bryan - working on icons that teach/how to run

Addie, Chadwick - working on interaction/wayfinding

Nytes, William - working on typeface design with ping-pong 

Group Four 4 Conservation of Milwaukee Through Type (Typographic City)

Belanger, Katherine - working on icon design/deployment for the environment

Gunnlaugsson, Keegan - working on typeface/3rd ward

Carlson, Scott - working on highway/interstate wayfinding

Group Five 5 Comic Type in Real Life (Amplification of Sound and Emotion) 

Hall, Brian - working on ligatures for phonetics
Jung, Thomas - working on typeface design for famous icons (hair)
Peck, Nolan - working on comic wayfinding development

Group Six 6 Making Print Dimensional (Light and Material)

Gulczynski, Christopher - working on icons/desktop analog

Specht, Nicole - working on icons that represent Wisconsin/mapping

Keller, Liza - working on re-imagining the Union wayfinding

furry process

the process for my furry letters.

right now the "A" and "B" are cut out with a razorblade, and careful not to cut through more than just the bottom, the "C" is cut with scissors. I was looking for a little feed back as to which one would be more effective.

click me!

as it stands the A and B represent fur more and is a little abstract.

the C more closely represents the original font.

both have merit, but i am leaning towards the cutting method used for the A and B.

let me know your thoughts!

click me!

Hair icons in the news!

http://m.gawker.com/5784898/can-you-guess-the-celebrity-by-the-hairstyle/gallery/

kind of like my typeface..

I saw these Nike shirts online and they kind of remind me of the 'typeface' I am creating. Its part of a series called the Nike Hair-itage MLB t-shirts.

Group Sign-up

Today I attempted to initiate group formations. While there were some people interested in pairing up nothing has been set in stone. If you cannot figure out groups yourself I will assign them. Try to decide… I might just pull them out of a hat.


Here is the class list. Since we have 18 please choose groups of three.



Addie, Chadwick - working on interaction/wayfinding
Beauchesne, Taylor - working on type design/childhood dreams
Belanger, Katherine - working on icon design/deployment for the environment
Brakke, Alyssa - working on type design/braille/tactile 
Carlson, Scott - working on highway/interstate wayfinding
Dolezar, Kyle - working on library wayfinding
Gulczynski, Christopher - working on icons/desktop analog
Gunnlaugsson, Keegan - working on typeface/3rd ward
Hall, Brian - working on ligatures for phonetics
Jung, Thomas - working on typeface design for famous icons (hair)
Keller, Liza - working on re-imagining the Union wayfinding
Korthof, Samantha - working on typeface design/brush script
Nytes, William - working on typeface design with ping-pong 
Peck, Nolan - working on comic wayfinding development
Short, Bryan - working on icons that teach/how to run
Specht, Nicole - working on icons that represent Wisconsin/mapping
Valeri, Angela - working on typeface design juxtaposing the digital and analog
Zimmerman, David - working on typeface design…

Periodic Table of Typefaces

For Tuesday March 29

Presentations this week on final 2D form. I will assign.


Please post a statement of your process and thesis to the blog by this day. Describe your interest/focus, questions you are trying to answer, and steps by which you are creating work. Explain your final form.

We will get started with groups as well on Tuesday.


Cheers!

Chicago Design Archive

For inspiration
http://www.chicagodesignarchive.com/

If you don't subscribe already…

But… does it float?

experimental type video-awesomeness

I've always thought this video was pretty awesome, from the Typophile Film Festival 5 opening title. Enjoy.

Connect Comic Book

Comic Kinect: for all those who wish life was a comic book from Emily Schwartzman on Vimeo.

Interactive mapping at the Goethe Institut Barcelona

Interactive mapping at the Goethe Institut Barcelona from Sebastian Neitsch on Vimeo.

Drawing with your fingers…

Great story about process!

I like how I'm seeing all of yours evolve :)

http://www.sustainablycreative.net/drawing-with-my-finger/

Letters and cut paper!

http://www.beautifullife.info/art-works/beatiful-paper-letters-by-jerome-corgier/

Fancy Surgeon I mean Sturgeon

Word puzzle wrapping paper. Fun before you even unwrap it.

http://design-milk.com/word-puzzle-universal-wrapping-paper/?utm_source=feedburner&utm_campaign=Feed%3A+design-milk+%28Design+Milk%29

Scrabble Gets Sexy

www.good.is/post/scrabble-gets-a-typography-design-makeover

Nicole Specht WIP

ornamental font

taylor check this out

http://www.behance.net/gallery/ONTHEFONT/164851

For all you symbol / wayfinding designers...

NounProject

Listed are (probably) all universal symbols, free for download. Can also be viewed by category (i.e. animals, transportation, travel and wayfinding).

What a steady hand...!

Legacy of Letters from Luca Barcellona on Vimeo.

Wayfinding: Preliminary Highway Signage

Here is a preliminary image of my concept for highway signage. Let me know your thoughts, comments, or critiques. Be nice though, I am sensitive.

Synopsis

Of the three fonts I’m analyzing, this one has the most handwritten feel. The strokes mirror the movement of the hand convincingly. However, whoever wrote this has sloppy handwriting. X-height is irregular, and there is little thought put into having consisten terminals. There is a very strong horizontal movement involved because some of the forms are so wide-- for example, the J and the q. Kerning is thus also very irregular. The low contrast in the thick strokes makes it seem undefined and connections between strokes seem muddled. This confines the typeface to being for display only, and as a wide font, does not maximize the space.





What Makes It a Brush Font?

Although the stroke thickness is not as varied as it should be for a display type, the variation is enough to make it seem like it’s brush-written. The rounded ends give the impression of a round brush, and some forms include a flourish, like the a. Intersecting strokes complese cross over each other in some cases, like the E or N. It gives the feel on a rushed hand, something that isn’t present in most fonts. The evidence of the human hand is also present in its inconsistencies.




Potential Issues

Issues with this font lie primarily in legibility. The E looks more like an I with a third, middle crossbar. The B is so dynamic and large that it overpowers its fellow letters. When it comes to lowercase letters, many are written without enough line-definition. The m and z are particularly difficult to see, even at large sizes because the creator eliminated the important, defining counter-forms. Other issues have already been stated-- from a lack of an x-height to the difficult proportions (too little contrast to be small, too wide to fit properly as display type).

Synopsis

Seen here is Present LT Std. It appears to have some eastern influence, and so it is my choice for the first font analysis. Left is my interpretation of the baseline, capline and x-height of this font-- if there really is one. It appears as if the horizontal strokes, as on the H and f, rest just below the x-height. The terminals reach just above the x and cap heights. The dot of the i and j reach cap height (they don’t extend above like the terminals of the capitals) and descend below the baseline. All lowercase letters start and end at traditional lines except for the f, which has a descender. The uppercase is more irregular-- for example, the A, M and N’s first stroke start below the baseline. The J descends as well.

Aetypical shapes are used in this font. The E is rounded. The I looks like a J-- the J has an extra horizontal stroke. The z lacks angles. The Y’s descender doubles-back on itself.



What Makes It a Brush Font?

One thing that makes this a brush font is the terminals. Each terminal comes to a rounded point, to imply that the brush has a pointed tip which continues to drag as it’s being lifted from the form, or just being put against the page. Strokes in many cases goes from thick to thin, giving a strong contrast. The O doesn’t connect at the top, and has a speediness. In some cases, the horizontal and vertical strokes in the uppercase letters do not meet neatly, but cross over each other. For example, the T and the R. This implies the hand, and the way the strokes were laid down. It’s perhaps the strongest reference to eastern writing styles. Lastly, strokes are rarely perfectly straight-- most have a curve or flourish at the end.




Potential Issues

One immediate issue is the way the I is written. It looks too much like a J. The creator should have written the strokes in the same style as the H and the L. Instead, they added an extra stroke to the J to try to differentiate, however it just makes the form less recognizable. Another potential issue us the width of the uppercase characters-- many of them are wider than they are tall. It certainly gives the creator more space to create stroke contrast, but the font ends up with a squished feeling which I find to be unappealing.

Synopsis

Lobster is what I consider to be one of the more successful brush fonts. In comparison to Present, it has far more consistency in posture, height and ornamentation. However, it is also more mechanical due to the geometric, sans serif terminals. Almost all of the lower case letters have ligatures added in, and thus it seems to be kerned quite closely. As a general rule, Lobster seems to let the traditionally straight lines be straight, and adds brush strokes only in instances of terminals or traditionally curved strokes. Exceptions are the E, v, x, A, and a couple others. The s is particularly unique, as it’s the cursive s.


What Makes It a Brush Font?

For a brush font, the Lobster forms are quite geometric. There are a good number of sans-serif terminals. It’s the simple addition of a swooping terminal on the uppercase and strong stroke-width contrast that makes it seem brush-written. The slanted posture also helps to make it seem cursive. In the lower case, it’s as simple as having thin ligatures which smoothly link up to the thick letter strokes. The addition of curls on the f, g, j and y as well as round terminals on the r, v, w and x accentuate the curvilinear forms.



Potential Issues

Compared to Present, this font has few issues considering its likely use. However, it does face some awkwardness because of its ligatures and ornamentation. The word “sfumato”, for example, has strange ligatures. The ligature between the s and f interacts oddly with the curl of the f. Then the stroke of the f disappears into the ligature with the u, making it harder to tell that it’s an f. Also, there is also no good way to use Lobster in all-caps. The forms just don’t lend themselves to that kind of treatment-- which is acceptable, given there is never a good reason for cursive all-caps.

Ken Robinson on Education and Creativity

This is the same guy who was speaking to the education hand drawn animation we saw in class. Relates well to the creativity article we read also.

Nicole Specht: WIP

Some iconish things I whipped up this morning.