Brief 3
4
ougd301 Type Faces Yafet Bisrat Taking the word ‘Typeface’ literally, and using this playfully to offer another perspective to typography. Through the bookfair last year and the small sucess with the audience, consider how it can be pushed further. How many more ‘type faces’ can be produced? How could the type faces and background stories differ to the first edition. Create a body of work around the basis of type faces. Pro- duce a range of limited edition booklets, additional type faces, and new methods of spreading information on typography. Type Faces is an extension of a concept derived from the first ‘Rare Typeface and Where to Find Them’ book made for the Leeds Inter- national Artists’ Book fair, 2011. What the brief aims to do is target a broad range of target audienc- es, from children to adults; type geeks to those that aren’t aware of its importance; and from developed designers to novices. A skills and research driven brief with all of the makings for an exciting and effective design process. The work produced reflects a personal investigation into each typeface by working as closely as possible with each character within the families. Through an extensive look into bookwork and new approaches to reading, I’ve tried to play around with more of an underlining concept behind the way pages unfold and how the format of a book can work sucessfully in reflection of the content.
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The Book of Type Faces
Transcript of Brief 3
ougd301Type FacesYafet Bisrat
Taking the word ‘Typeface’ literally, and using this playfully to offer another perspective to typography. Through the bookfair last year and the small sucess with the audience, consider how it can be pushed further. How many more ‘type faces’ can be produced? How could the type faces and background stories differ to the first edition. Create a body of work around the basis of type faces. Pro-duce a range of limited edition booklets, additional type faces, and new methods of spreading information on typography.
Type Faces is an extension of a concept derived from the first ‘Rare Typeface and Where to Find Them’ book made for the Leeds Inter-national Artists’ Book fair, 2011.
What the brief aims to do is target a broad range of target audienc-
es, from children to adults; type geeks to those that aren’t aware of its importance; and from developed designers to novices. A skills and research driven brief with all of the makings for an exciting and effective design process. The work produced reflects a personal investigation into each typeface by working as closely as possible with each character within the families.
Through an extensive look into bookwork and new approaches to reading, I’ve tried to play around with more of an underlining concept behind the way pages unfold and how the format of a book can work sucessfully in reflection of the content.
ougd301Type FacesYafet Bisrat
30 faces were finalised to move forward and be potential candidates to move past the final cut. The faces vary, and steer clear of consist-ency (as every typeface has it’s own expression, appropriateness, tone of voice). This gives much more room to intrigue the audience and get them to want to find out more about the face.
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7.13.18.22.26.
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2. Stencil
1. Cabin
12. Times
3. Sathu
13. Baskerville
22. Garamond
4. Gill Sans
14. Lucida Blackletter
23. Gotham
5. Arial
15. Adobe Caslon
24. TW Cen
6.Cooper
16. Frutiger
25. Geneva
7. Verdana
17. Comic Sans
26. Georgia
8. Hobo
18. New Aster
27. Galliard
9. Chaparral
19. Apercu
28. Calibri
10. Helvetica Neue
20. Ayuthaya
29. Kefa
11. Goudy Old Style
21. OCR Std
30. Didot
ougd301Type FacesYafet Bisrat
The main deliverable was the book, the soul and focus of the pro-ject as a whole. The first edition of ‘type faces’ last year was moti-vated much more towards creative writing and conjuring up stories of random outbursts, whereas this edition looks at history and facts of the actual typefaces. This is where the books differ most, ultimately appealing to a much wider audience. Designers want to know about typefaces, non designers just want to flick through a book that looks quite intersting, visually. Within the book, is a journey to uncovering/unfolding/and tearing open more and more information. The perforations, - which appear on every page a type-face lies - force the book to become interactive and almost urge the reader to have that wanting to find out about the content.
As part of my research, I have been looking into the works and
views of Irma Boom, who says book should not be preserved and over cared for their finishing. This is what the book aims to do. However, what helps is that the typeface information is left on the page the face is on, so if the reader is still adamant on not tearing the page, then they will just become interested to go and find out about the typeface themselves through their own sources.
‘This book, works as a short experiment into the art of bookmaking alongside typography. After recent visits to Typo Talks, London, the wonderful designers Irma Boom and Erik Spiekermann (and many, many more) - Boom especially - de-bated much about how the essence of a book was to spread information and not just be an as-set left on the shelf.
The perforations shouldn’t act as a preserved element, but as an idea of delving into what’s behind the face. However, even if the book is something that you want to preserve in its orig-inal form, the small hints of information and Typeface DNA should push you to further ex-lore the typeface yourself, urging more of a per-sonal investigation.
The Book of Typefaces is an extension of the first edition, Rare Type Faces and where to Find Them.’
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ougd301Type FacesYafet Bisrat
A series of 4 seperate A2 posters were printed that work hand in hand with the books. The prints are more driven towards making the faces have more of a visually pleasing feel to them, rather than a humorous factor, to show off the characters within the faces and have more of a focus on the aesthetics of the designs.
The format of the posters work in two ways; landscape and portrai-ture. The landscape view has less of a motive to show off the type faces but the actual typeface instead, and portraiture vice versa.
Books and posters ready to sell for Leeds International Artists’ Book Fair, 2013.
