Paramount Process

a process of Paramount /

First copy hardcover image wrap copy printed in 2011, by Blurbbook printing:

Blurb, Inc.580 California Street, Suite 300San Francisco, CA 94104http://www.blurb.com

No part of this book should or may be reproduced in any manner with out written permission from the publisher, except in the context of reviews. Book context serves student and grading purposes only and used for no other use.

Designer: Courtney Shelton/ 2011

Researched, Written, & designed by Courtney Shelton /Influenced typeface design by Ondrej Job /

a process of Paramount /

I had seen it in two of Professor Black’s p

resentations during class previously

and absolutely loved it, w

hile wanting to know more about

it. Through only ju

st a brief knowledge of this d

esigner and typeface so

far, many iss

ues have become apparent such as his p

articular design

characteristics, in

terests, and design influences. O

ndrej Job uses a combination

of his own custom hand lettering with the stu

dy and knowledge of the

“Interpolation Theory” as well as “T

he Stroke Theory

of Writing” to

create his typeface , w

hich comes in a plus and minus weight, as

well as an italic style. I p

lan to study and manipulate this ty

peface by observing

and adding in hand drawn elements with curvin

g edges and counter qualities to

the plus style.

Type D

esign

er

Introd

uctio

n ONDREJ JOBHistoryInspirationsProcessRecent work

KLIMAXCategoryConceptTheoriesFeaturesIn Use

THOUGHTSThesisStatement

Influe

nced

Type

face

table of contents /

1 2 3

DRAWINGSSkeletonGlyph DissectionSketchesProcess CritiquesLetter evolution

Type selectionreasoningPlans of typemanipulation

Goals

& Re

ason

ing

The P

roce

ss

4 5

table of contents /

I had seen it in two of Professor Black’s presentations during class previously and absolutely loved it, while wanting to know more about it. Through only just a brief knowledge of this designer and typeface so far, many issues have become apparent such as his particular design characteristics, interests, and design infl ueneces. Ondrej Job uses a combination of his own custom hand lettering with the study and knowledge of the “Interpolation Theory” as well as “The Stroke Theory of Writing” to create his typeface Klimax, which comes in a plus and minus weight, as well as an italic style. I plan to study and manipulate this typeface by observing and adding in hand drawn elements with curving edges and counter qualities to the plus style.

beginning thoughtsthesis statement

1INTRODUCTION /

I PLAN TO STUDY AND MANIPULATE THIS TYPEFACE BY OBSERVING AND ADDING IN HAND DRAWNELEMENTS WITH CURVING EDGES AND COUNTER QUALITIES TO THE PLUS WEIGHT VERSION.“For this entire quarter project and feeding analysisfrom others, I have chosen to focus my interests of type design in a new and different direction that is typical of me and normal typographic selections. I am seeing more and more how important it is to take interest in exploring the things that make mecurious throughout design, and this typeface hasbeen one of them for awhile.

I had seen it in two of Professor Black’s presentations during class previously and absolutely loved it, while wanting to know more aboutit. Through only just a brief knowledge of this designer and typeface sofar, many issues have become apparent such as his particular design characteristics, interests, and design influences. Ondrej Job uses a combination of his own custom hand lettering with the study and knowledge of the “Interpolation Theory” as well as “The Stroke Theory of Writing” to create his typeface Klimax, which comes in a plus and minus weight, as well as an italic style. I plan to study and manipulate this typeface by observing and adding in hand drawn elements with curving edges and counter qualities to the plus style.

Although, when I first heard of the typeface I did not know who the designer was,but he too became a curiosity as well due to the lack of information available in him.

introduction / 1

I PLAN TO STUDY AND MANIPULATE THIS TYPEFACE BY OBSERVING AND ADDING IN HAND DRAWNELEMENTS WITH CURVING EDGES AND COUNTER QUALITIES TO THE PLUS WEIGHT VERSION.

“beginning thoughts /

Ondrej prefers to work on design projects that are culture oriented and are also experimental. He is highly infl uenced and inspired by almost anything graphic and letters of course. He has a very high interest in the comic books of Hannah Barbera animations, illustrations, and the art of Eastern Asia. A lot of his work that is typical and known of him is his custom hand lettering. His lettering and technigques are a crucial part of his process and design work. While he is in the beginning stages in developing a typface—which most come from his hand lettering sketches from his notebook—which most come from his hand lettering sketches from his notebook— —he can then start to see the hand lettering then turn into a typeface of its own. This is where he gains a huge part of satisfaction by drawing out his type first and then being able to see the next immense possibilities and opportunities it holds for its next step of being placed in digitally.

Ondrej Jobhistoryinspirationsprocessrecent work

2TYPE DESIGNER /

Ondrej prefers to work on design projects that are culture oriented and are also experimental. He is highly infl uenced and inspired by almost anything graphic and letters of course. He has a very high interest in the comic books of Hannah Barbera animations, illustrations, and the art of Eastern Asia. A lot of his work that is typical and known of him is his custom hand lettering. His lettering and technigques are a crucial part of

turn into a typeface of its own. This is where he gains a huge part of satisfaction by drawing out his type first and then being able to see the next immense possibilities and opportunities it holds for its next

Ondrej Job is a graphic and typeface designer from Ondrej Job is a graphic and typeface designer from Czechoslovakia, born in 1984. Fairly young as Ondrej Czechoslovakia, born in 1984. Fairly young as Ondrej is within the type design world, he has sure set himself is within the type design world, he has sure set himself out on the right foot with his beginning typeface designs. out on the right foot with his beginning typeface designs. Ondrej has studied in Denmark, Slovakia, and in the Ondrej has studied in Denmark, Slovakia, and in the Netherlands at the Academy of Fine Arts and Design Netherlands at the Academy of Fine Arts and Design where he received his MA degree in graphic design where he received his MA degree in graphic design and his other MA degree in typeface design at the Royal and his other MA degree in typeface design at the Royal Academy of the Arts in The Hague. Now he currently Academy of the Arts in The Hague. Now he currently resides in Bratislava, Slovakia, where he has produced resides in Bratislava, Slovakia, where he has produced the recent typefaces Ico, Ion, Outliner, and Klimax.the recent typefaces Ico, Ion, Outliner, and Klimax.

Ondrej Job is a graphic and typeface designer from

Czechoslovakia, born in 1984. Fairly young as Ondrej

is within the type design world, he has sure set himself

out on the right foot with his beginning typeface designs.

Ondrej has studied in Denmark, Slovakia, and in the

Netherlands at the Academy of Fine Arts and Design

where he received his MA degree in graphic design

and his other MA degree in typeface design at the Royal

Academy of the Arts in The Hague. Now he currently

resides in Bratislava, Slovakia, where he has produced

the recent typefaces Ico, Ion, Outliner, and Klimax.

“As a graphic designer I always have an image of thefi nal product in my head; the colors, composition and typography.”

designer / 2

Slovakian graphic/type designer

ondrej job /

where he received his MA degree in graphic design and his other MA degree in typeface design at the Royal Academy of the Arts in The Hague. Now he currently resides in Bratislava, Slovakia, where he has produced the recent typefaces Ico, Ion, Outliner, and Klimax.

Slovakian graphic/type designer

ondrej job /

Ondrej prefers to work on design projects that are

culture oriented and are also experimental. He is

highly infl uenced and inspired by almost anything

graphic and letters of course. He has a very high

interest in the comic books of Hannah Barbera

animations, illustrations, and the art of Eastern

Asia. A lot of his work that is typical and known of

him is his custom hand lettering. His lettering and

techniques are a crucial part of his process and

design work. While he is in the beginning stages

in developing a typeface—which most come from

his hand lettering sketches from his notebook—

he can then start to see the hand lettering then

turn into a typeface of its own. This is where he

gains a huge part of satisfaction by drawing out

his type first and then being able to see the next

immense possibilities and opportunities it holds

for its next step of being placed in digitally.

“I THINK I WOULD

POLICE OFFICER.”

MAKE A GOOD

—Ondrej Job

TYPOGRAPHIC

(Above) A sketchbook view of in process hand lettering ofOndrej Job

recent work /Ondrej’s new typeface “Ion,” (2010) is based on the seven

segment digital display. The typeface has ten different weights

within the three different developed families which are normal,

condensed, and wide. It was designed with the contemporary

need of graphic design and typography in thought. He designed

the entire typeface with a component box drawing called Cells.

(see below)

These cells helped him create the different weights and styles

of the entire typeface itself. It includes the normal Opentype

features as well as ligatures, fractions, and stylistic sets.

designer / 2

—Ico, time icons

(Left) An overview and selected iconsfrom Job’s typeface Ico, available inTime, Weather, and Phone versions

designer / 2

recent work /This typeface “Ico” is inspired by symbols and

dingbats of the typical monochromatic LCD display.

The mostly are all rounded and organic forms in

shape, while being constructed out of the least

amount of visual object as possible. These single

characters all possess the same lineweight and also

that of the before typeface Ion, making them both

designed to perfectly work with one another.

Ondrej has also just recently completed the design

of the type foundry Typotheque’s new website layout.

This new design generates test samples of text, has a

new font combiner, and a PDF tester. He has also

designed his own website that sells multiple products,

for example these T-shirt designs to the left.

(Top A screen view of the new redesigned Typotheque website.(Left) Products from Ondrej’swebsite available for sale.

klimaxcategoryconcepttheoriesfeaturesin use

Klimax features Opentype that allows the typeface to have a larger number of characters, while some postscript fonts are only able to possess up to 256 characters. This typeface includes roughly about 1,177 glyphs

with also 285 ligatures as well. Its Opentype features of multilingual character sets, ligatures, small caps, various numeric styles, and contextual substitions make this a verstatile typeface for multi use design in almost

any category in any language. The standard ligatures here within the typeface are made to improve the overall readability and kerning of the letters. These are forms and characters coming together as one to increse

this process. Klimax includes over a total of 285 of these for use throughout the entire face.

3TYPEFACE /

Klimax is an OpenType, DISPLAY TYPEFACE , meaning that it is essentially constructed in a format with the help of Adobe

and Microsoft, while used for headlines and displays. The font is able to be produced in many different languages—Klimax

being available in Latin based European languages, Baltic, and Turkish. The format for types not being described as OpenType,

are PostScript formats. This option limits the number of character glyphs within a typeface to only 256 characters, while those

of OpenType can have up to over 65,000 characters. The OpenType features of Klimax consist of around 1,177 glyphs

with 285 ligature sets, small caps, super and subscript replacements, and proper characters to resolve fractions as well as

currency symbols.

typeface / 3

The concept for development of the Klimax

typeface was hugely influenced from the studies

and theories of The Stroke theory of Writing and

Gerrit Noorzidg’s “Interpolation Theory.” Klimax’s

bold, plus stroke shows the entire shape and form

of the letter while letting the negative counter spac-

es reveal its Minus weight appearing almost paper

or toothpick thin. So applying these theories to

the Minus weight results in this plus weight where

the form has been extended to its maximum point

leaving only the smallest counter forms seen.

the concept /

(Left) A page from designer Ondrej Job’s notebook

as the early stages of the typeface Klimax are began

to shape and form.

(Opposite) Both processes in the steps of Klimax

becoming a finish typeface.

(Far opposite) A comparison showing how these

theories are put to use through the extreme and then

to the least minimum.

the features of klimax /Klimax features Opentype that allows the typeface to have a larger

number of characters, while some postscript fonts are only able to

possess up to 256 characters. This typeface includes roughly about

1,177 glyphs with also 285 ligatures as well. Its Opentype features of

multilingual character sets, ligatures, small caps, various numeric

styles, and contextual substitutions make this a versatile typeface for

multi use design in almost any category in any language.

The standard ligatures here within the typeface are made to improve

the overall readability and kerning of the letters. These are forms and

characters coming together as one to increase this process. Klimax

includes over a total of 285 of these for use throughout the entire

face.

typeface / 3

(Right) A view of Klimax’s ligature sets, and noteven all 285 of them are visible here.

The small caps within Klimax are constructed to reflect

the ordinary, basic geometric shape, while taking away

the inner, thin negative counterform that is characteristic

of the regular design alphabet. Very extreme as the shapes

begin to become, the negative white space around the

form still lets the eye shape it into a quite recognizable

glyph to be able to communicate.

The ability to replace certain figures and letters is also

a trait that Klimax holds. Numbers of other certain

characters can be replaced or have superior and inferior al-

ternates added to them, as well as footnotes/endnotes, and

mathematical or chemical equations while still being able

to compliment rest of the Klimax typeface side by side.

(Top) A view of how small caps work with their comparison to the basic geometric form(Leftt) An example of mathematical symbols and fraction character replacements in Klimax.

Klimax in use /Here the typeface is used within a book cover

design titled, “This Joke Ain’t Funny Anymore,”

by Marianna Ignataki. Although, the typeface

might look different here because it is not being

used in the more seen weight of the plus version.

On the far opposite, we see it being used in both

weight styles for the brand identity for the design

conference, Brand New Conference. The title

heading using the plus weight while, the minus

is used in the subheading and date times off the

the right side.

typeface / 3

type selection reasoningplans for manipulation

4GOALS & REASONING /

GOALS & REASONING /

I believe this is the reason that I was so drawn to this typeface in the beginning, and

then essentially wound up choosing it in the end decision. I love working with display

type a lot in the fi rst place, so when I could not stop randomly sketching or drawing

this typeface out in my sketchbook, I thought it would be a great one in fact to explore.

While fi rst exploring and observing this typeface, it is a bit confusing and hard to

fi gure out. Its reference and qualities are brought from the “Interpolation Theory” and

“Stroke Theory of Writing,” which is what gives it the extreme boldness, the plus and

extreme hairline stroke, the minus. Initially developing the skeletons was one of the

biggest struggles that I ran into while starting the process of dissecting this particular

typeface. Knowing where to place the stroke either in the middle of the form or further

to the left, or right for that matter was one of the confusing aspects.

esse

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ound

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omly

sket

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ght i

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ld b

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xplo

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and

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ce, i

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fere

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qual

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ght f

rom

the

“Int

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” an

d “S

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The

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whi

ch is

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t this typeface out in my sketchbook, I thought it would be a great one in fact to explore.

are

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ch is

wha

t this typeface out in my sketchbook, I thought it would be a great one in fact to explore.


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-this typeface out in my sketchbook, I thought it would be a great one in fact to explore.

While fi rst exploring and observing this typeface, it is a bit confusing and hard to gi

ves

it th

e ex

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e bo

ldne

ss, t

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and

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fi gure out. Its reference and qualities are brought from the “Interpolation Theory” and op

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“Stroke Theory of Writing,” which is what gives it the extreme boldness, the plus and of

diss

ectin

g th

is pa

rticu

lar t

ypef

ace.

Kno

win

g w

here

to p

lace

the

stro

ke e

ither

in th

e m

iddl

e “Stroke Theory of Writing,” which is what gives it the extreme boldness, the plus and

of d

issec

ting

this

parti

cula

r typ

efac

e. K

now

ing

whe

re to

pla

ce th

e st

roke

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er in

the

mid

dle


of d

issec

ting

this

parti

cula

r typ

efac

e. K

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ing

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re to

pla

ce th

e st

roke

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the

mid

dle



of d

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ting

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r typ

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e. K

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ce th

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roke

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the

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ting

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r typ

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r typ

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pect

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s.“Stroke Theory of Writing,” which is what gives it the extreme boldness, the plus and

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s.extreme hairline stroke, the minus. Initially developing the skeletons was one of the

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For example with the letters K, L, B, P, and R stroke’s

were pushed further over to the left, while O, Q S, T,

H, A, I, and J were more centered. After this step of

forming a skeleton over the typeface, I then began to

start simply sketching and tracing the glyphs.

(Top) The plus eight of Klimax with its underlinded skeleton (Bottom) The plus weight of Klimax, showing the curving, diagonal forms that are planned for being added to manipulate the original form of the typeface

the skeleton /

goals / 4

skeletongylph dissectiondrawingssketchesprocess critiqueletter evolution

o I began laying the plus and minus versions over and on top of each other to see what qualities were starting to form and then which ones were appealing to me most, but also worked aesthetically as well. As I began sketching, I started with just the plus weight and began adding a very thin, almost hairline serif to the ends of some of the forms and really liked how it was looking, so I continued on to about half way through the alphabet. Although I was happy with how this was looking, it was the very fi rst exploration, and I knew that I needed to explore further and could come back to this solution if necessary. Continuing on, since I was beginning this process with laying the different weights over the top of one another, I then thought of taking different elements from each weight and somehow trying to add them in together to form one fl uid typeface.

5THE PROCESS /

I kind of dove right in when it came to developing this skeleton. This is the

very first time that I have designed a typeface of my own so I really had no

idea what I was doing and no previous experience to relate back on. This was

probably one of the greatest challenges for me through out this whole typeface

progression. Although I did love Klimax, it was a bit of a challenging typeface

to study and get used to, due to its extreme boldness and then the opposite,

thin weights. As I began to continue on further into creating the skeleton, it

did get easier as do all things, but it very closely started to resemble the minus

weight of Klimax which makes total sense. Certain glyphs like the R, as seen

from below were uncertain as of where to place the entire skeleton itself.

the rest look good

skeleton needs to move to the right more

the skeleton /

gylph dissection /Although the time consuming process of glyph

dissection, it helped tremendously for me to get to

know this typeface even more. The relationships

the each similar style letter form begin to paint the

picture into your mind for when the time comes of

planning out your own designed typeface. The

relationships that the letters O, C, D formed were

almost perfectly in line on top of one another. Also

when during the process, it was visual how extremely

wide the letters M and W were. While being such

a similar looking glyph, they are indeed different in

design and not repeated and/or reflected.

the final skeleton /

Rue Display Medium

123 45 67 8

SOMEinspirations

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process / 5

So I began laying the plus and minus versions over and on top of each other to see

what qualities were starting to form and then which ones were appealing to me most, but also

worked aesthetically as well. As I began sketching, I started with just the plus weight and

began adding a very thin, almost hairline serif to the ends of some of the forms and really liked

how it was looking, so I continued on to about half way through the alphabet. Although I was

happy with how this was looking, it was the very first exploration, and I knew that I needed

to explore further and could come back to this solution if necessary. Continuing on, since

I was beginning this process with laying the different weights over the top of one another, I

then thought of taking different elements from each weight and somehow trying to add them

in together to form one fluid typeface. This idea started to form some very unique, but also

strange letter forms at the same time. The problem I began to run into as well with trying to

add in elements of both plus and minus weights, was that it started looking somewhat like the

typeface Broadway, which I do not like at all. So this idea was quickly dropped and moving on

to another was the next step.

the layering of trace /

WITH NO REAL IDEA OR DIRECTION IN MIND, BUT SOLELY FOR EXPERIMENTATION AND DISCOVERY PURPOSES, WHILE ALSO TRIAL AND ERROR.

““

process / 5

I tried the typeface out again with just the plus weight, but only darkened

in one half vertically. This, after done on more letters was not looking right, so on the

process still continued. Many other little ideas similar to these were experimented,

but now I needed to focus my attention on the manipulation of the counters and see

where that would take me, instead of just looking at the positive spaces.

This next phase of sketching and drawing was the most beneficial for me

throughout the entire process I think; simply by tracing my skeleton in a larger scale

on normal letter sized sheets of white paper let me really see the forms and shapes

that the letters were creating and then how I wanted to change them into my own.

While drawing out my key glyphs first, O, C, D, G, E, and V, different manipulations

started to take place for each. I drew the forms in their original context, with curved

counters, serifs, rounded edges, condensed, italic, and stencil styles, and with

rounded and slanted counters. Finally after twenty-two pages of glyph drawings I

had decided on a style to execute. The most appealing to me became the slanted,

curved counters and the rounded edges that I had decided to experiment with in

the earlier stages.

the beginning of the process /

process / 5

(Right) After choosing the fi nal way that I wanted to manipulate and change my beginning

typeface, I began to then choose the route to drawthem out instead of developing them right into the

computer at fi rst.

process / 5

(Left) Next, the step was placing my drawings and sketches into the computer and start to then form the outlines of the shapes. Already within this view, the changes that need to bemade are already able to be seen.

correction areas

process / 5

(First) This first E here to the left was how I

originally planned it to be. I looked at it and

saw that there was no diagonal element in

it so I started to experiment with that.

(Second) This thought was carried through

with the processes again the same way as

the letter E.

(Third) This letter was mostly done with

the beginning first sketches. Playing with

the form more to find innovative alternatives

was tried next, but only so many ways were

able to work to keep the letter still readable.

(Fourth) The M and the W were a lot of the

same characteristics of course, but took some

time in getting the diagonal counters in the

right places to improve it optically.

Changed glyphs (below) as well as ones colored BLUE which arealso other versions that I wanted to you to look at as well.

less angle less angle on exterior

eliminate & see what happens

heavier spine

less angle

flatter stem like T

widen toequal thebalance

much too big

Changed glyphs (below) as well as ones colored BLUE which arealso other versions that I wanted to you to look at as well.

this should work fine

nice, but may be too big,set in a word and see

like this, but may appeartoo big in word form

could be an M solution

process / 5

process critiques /

process / 5

glyph comparisons /

widen more

smooth out, work on counter

keep working outcorrect character relationship?

process / 5

key glyphs /

Due to the first attempt at the letter E, and some

of the previous ones not working out, I came to the

idea and critique of classmates to try and maybe

develop and uppercase cursive E and see how

it looked. To the (left) a symmetrical version and

then to the (right) one that has its bottom terminal

extending out further. I liked it singular by itself, but

when placed into with the rest of the alphabet I did

not feel like it looked as though it fit in with rest of

the glyphs.

This version of the letter E here to the left is what

was first started with, but the middle arm was

almost opposite of the relationships that normally

occur within the arms of this letter. So it was then

changed to the outside arms being thickest and

the middle as the smaller.

Change of the E /

Evolution of the G / The letter G was my ultimate hardest glyph to

figure out. It in comparison to other typefaces was

my letter S. Trying to fit in the diagonal counter of

manipulation that I was going for in all the letters

was a great challenge for this letter because I also

had to make its inner crossbar and spur work together

with it as well. I had a basis down of the left side since

the letter C was already developed, but it took some

puzzling and trial and error to make the figure ground

relationships work between on the right half of the G.

process / 5

Klimax Plus Skeleton

This version here is where it was trying to add in the entire

mass of the bottom spur and crossbar as one whole shape

such as how it is done in the original version of Klimax. This

became too bulky and pointed at the end while not possessing

characteristics of then intended manipulation..

Next the adding in of the diagonal counter part gave some

more form and defi nition the glyph but it was still not the right

solution for the form.

The only difference here is the beginning stroke of the letter at

the top and the thickness in width of the descending spur as

well as its length which goes slightly further down in contrast to

the above.

This came to be the last, but then fi nal and correct solution for

the letter G. It still has the diagonal inner counter form, and

also communicates the letter successfully with a smaller

vertical counter to separate out the bottom spur.

have handledthis gylph verywell

very nice form,

but is too heavy in

comparison to rest

this gylph istoo heavy

very nice handling of the counters, try this with the 4

process / 5

(Right) Process critique of the numbers in progress. (Far opposite) Final solutionsfor all ten number glyphs.

Numbers were something that I was really hoping

to have time to work out because they are one of

my most favorite parts of typography. I LOVE to

work with them. I think this reason is because they

are able to communicate singularly by themselves

with letters need to be used most often times in a

word to make sense and serve a means of good

communication.

While developing out these numbers, the seven

and the four were the two that gave me the most

trouble. Getting that counter to match up at the

right diagonals of the seven was a challenge while

also having to keep the weight consistent at the

same time. The four was an awkward form to try

and make that counter form fit into. I tried another

version with the top more open having a square

like quality, but that did not look right or fit in with

rest of the numbers. So the counter then moved

to the upper right hand part of the number and

stayed final as an open counter.

the numbers /

the final glyphs /

the Paramount /

process / 5

Paramount is a bold and fun display typeface

that is usable in almost any application, although

in most cases is too large for body copy typography.

It is an influenced design from the typeface Klimax,

designed by Slovakian designer Ondrej Job. It’s

concept relies heavily on the Interpolation Theory

of maximizing and minimizing the stroke weight of

the form. Paramount’s concept stays true to this as

well while adding in manipulations of rounded

edges and curved diagonal placed counters.

the context /

This book was designed using the typeface Trade

Gothic, in all varying weights, styles and sizes.

Trade Gothic is a sans-serif typeface designed in

1948 by James Burke. This type is most seen in

multimedia and advertising, while being combined

with a roman text. Most condensed versions of

the typeface are used and seen in headlines. The

subject matter of the book is about the typeface

in process which is, Paramount, an influenced

design from the font, Klimax, by typeface designer

Ondrej Job.

the colophon /

Paramount Process

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Transcript of Paramount Process