Process of Creating my own Typeface

Hi!

So I’ve been working on my type for the past two weeks, and I’m actually starting to see how it will look like digitally. I think sketching has helped me BIG TIME while creating the typeface. I created a gridded sheet to help me with the sketches then scanned and transferred them to illustrator.

Here is what I’ve done so far, I still need to finish the rest of the Arabic letters and refine them+the English letters.

 

 

Final Mind Map

I started out created my mind map by putting my question which is “What’s Happening Now?” in the middle of the page. From that, I decided to focus on social issues, so created 4 branches, each presenting an issue. The issues included: Child Labor, Racism, Poverty, and Addiction. For each issue, I included facts to each issue to emphasize on how serious each issue is. I also included examples of artists and organizations, like Stefan Sagmeister, Bruce Mau, Institue Without Boundaries, and CYCLE (Countering Youth and Child Labor through Eduction), so support and show what designers and artists and social workers are doing to fix or help these problems.

As a final statement, I put Mahatma Gandhi’s quote, “Be the change you want to see in the world,” because I believe all humans have the power and the responsibility to do something to the world, because we are the reason all these issues exist after all. Moreover, as designers, I think we have great power to do positive change to the world by creating projects that can communicate in a universal visual language.

As of the layout, I placed the earth with a spiral of the issues around it to make it look like the world is drowning or falling into this deep hole if we did not do anything to fix these issues. I also played with color, hierarchy, and typography to emphasize on certain things.

Final mind map:

 

Process Sketches

What is Professionalism?

Research

Mind map sketching

Bilingual Typographic Narrative

For our second Typography 2 project this semester, we are asked to create a full bilingual typeface, and associate is with one of the type classifications given to us. After lots of thinking about what the typeface I will create could look like, I finally decided to make it a handwritten typeface.

People always told my I have a very legible, clear, and neat handwriting. So, I always imagined it being a full functioning typeface for people to use. I finally got the opportunity to make it happen. Even though the typeface will look like my font, I will still make changes and adjust the thicknesses, sizes…etc. Handwritten typefaces usually look very scribbly and scratchy, however, I’m hoping mine will be more settled, clean, and not very scribbly. It will be quite curvy (but not too curvy), sans serif, and casual.

I imagine my typeface to be used in fun and more informal occasions. It will probably be used by the younger generations. One special aspect about handwritten typefaces is that they almost always look very friendly. So, I don’t think it will be used in a poster for a horror movie.

Even though we don’t usually pay attention to the characteristics of our handwriting, it is very important to think about them when transforming them into a font. All letters should have same proportions, thicknesses, and overall feeling.

So What is a Handwritten Typeface?

Handwritten typefaces are obviously typefaces that look like they’ve been handwritten. They could look like script, curvy, sribbly, scratchy…etc. Also, handwritten typefaces can sometime have a texture to it, to make it look like it has been written down by a crayon, a pencil, or ink.

Examples of Handwritten Typefaces:

Examples of Posters that use Handwritten Typefaces:

Initial Sketches:

Organizations/Institutes Research

1. TASMENA

Mission/Vision

  • to build the socially responsible design fundamentals of the creative industries by developing design capabilities, stimulating sophisticated demand and strengthening industries to become credible and significant players in the global creative landscape.
  • To recognize young designers in UAE
  • To start social design dialogues in UAE
  • To establish UAE as a leading hub for design excellence, where its design cluster is fully developed into a key driver of national competitiveness and creativity.

By using a grassroots approach to revitalize UAE’s economy, TASMENA will cultivate creative talents, stimulating creative ideas and cultivating creative enterprises from the ground up; aiming to empower individuals and organizations to initiate and pilot cutting edge projects that will unleash individual and community creativity and entrepreneurship. TASMENA will fabricate demands and capabilities for the Creative Industries by providing a unique people-private-public collaborative platform providing various levels of support, including facilitation, co-branding, marketing and co-funding. We hope that all designers in UAE will contribute and be part of our family.

Web Presence

http://tasmena.co

Twitter: @tasmena.co

2. SAATCHI & SAATCHI

Saatchi & Saatchi has grown from a start-up advertising agency in London in 1970 to a global creative communications company headquartered in New York, with 140 offices in 76 countries. Saatchi & Saatchi is part of the Publicis Groupe, the world’s third largest communications group.

Saatchi & Saatchi has helped move sustainability rapidly from the fringes of business to centre stage. So that’s where you’ll find Saatchi & Saatchi S.

They’re a global leader in offering clients sustainability consulting, brand activation and employee engagement.

They  identify four streams of sustainability. Social, Economic, Environmental and Cultural. And they define their Focus as ‘making sustainability irresistible’.

They’ve also established an internal programme across the Saatchi & Saatchi Network, through which they’re not going to think green, but act True Blue. They’re driving ideas and actions in all offices around energy efficiency, dematerialisation, waste elimination, community and culture-building.

At the heart of this movement is their DOT (Do One Thing) initiative. It makes sustainability personal and brings to life the assertion that “a billion small victories will make the world a better place”.

Web Presence:

www.saatchi.com

3. Institute Without Boundaries

The Institute without Boundaries is a Toronto-based studio that works towards collaborative design action and seeks to achieve social, ecological and economic innovation.

Mission/Vision

To produce graduates who, in the words of Buckminster Fuller, are ‘a synthesis of artist, inventor, mechanic, objective economist, and evolutionary strategist.’ To do so, they need to eliminate boundaries between design and other professions, and between designers and the local and global constituents they serve.

Coming out of the Institute without Boundaries, graduates will be able to effectively collaborate in the design process, whether they are designers or not.
We aim to create:

  • New design models that are collaborative and consider the ecology, social equity, cultural values and economic properties of the world;
  • A vision that affirms the possibility of developing healthy and creatively interactive relationships between the natural environment and human settlements, and;
  • An affirmative design agenda that encourages us to fashion beautiful, holistic environments for all constituents.

Web Presence

http://www.institutewithoutboundaries.com

Artist Research

1. Stefan Sagmeister

Born 1962, in Bregenz, Austria. He is a New York based Graphic Designer and Typographer. He has his own design firm called Sagmeister & Walsh Inc. He claims he becamse a designer after failing at being a musician and a jornalist.

Stefan Sagmeister is no mere commercial gun for hire. Sure, he’s created eye-catching graphics for clients including the Rolling Stones and Lou Reed, but he pours his heart and soul into every piece of work. His design work is at once timeless and of the moment, and his painstaking attention to the smallest details creates work that offers something new every time you look at it.

While a sense of humor invariably surfaces in his designs, Sagmeister is nonetheless very serious about his work; his intimate approach and sincere thoughtfulness elevate his design. A genuine maverick, Sagmeister achieved notoriety in the 1990s as the designer who self-harmed in the name of craft: He created a poster advertising a speaking engagement by carving the salient details onto his torso.

Field of Industry and Specialization

Graphic Design and Typography

Web Presence

http://www.sagmeister.com

Mission/Vision

  • Touching the heart with design
  • For Design to become more humanistic and less shallow
  • “Designers that needed guts from the creator and still carry the ghost of these guts in the final execution”

Major Projects

  • Block
    This cover for New York band Block features an actual Rothmans cigarette in its spine (the preferred brand of Jamie Block).
  • Drugs are fun in the beginning but become a drag later on

    One more installment in the series of “Things I have learned in my life so far”. The six double page speard for the Austrian magazine .copy spell out: Drugs / are fun / in the beginning / but / become a drag / later on.
    These are dividing spaces, each opening a new chapter in the magazine. Each month the magazines commissions another studio/artist with the design.
  • World Changing

    Worldchanging reports about new, positive developments in science, engineering, architecture, business and politics that will change this world.
    Through the die-cut holes of the slipcase the (of course recycled) paper on the book cover yellows significantly over time, allowing the sun to imprint (and change) the book cover itself.
    We designed this book to appeal not just to a core, green audience, but to a wide spectrum of the general public. At the same time it also holds special cache/surprises for regular visitors to worldchanging.com

SOURCE

2. Bruce Mau

Bruce Mau is the Chairman and Creative Director of Bruce Mau Design, which has gained international recognition for innovative multidisciplinary work collaborating with some of the world’s leading architects, artists, writers, curators, academics, entrepreneurs, businesses and institutions since its inception in 1985. Mau is the author of Lifestyle and Massive Change: The Future of Global Design, both published by Phaidon, and designed and conceived of the award-winning book S,M,L,XL with Rem Koolhaas.

Field of Industry and Specialization

Graphic design, Web design, and Typography.

Web Presence

http://www.brucemaudesign.com

Twitter: @BruceMauDesign

Mission/Vision

  • To contribute the most that one possibly can to this world
  • Positive change movement

Major Projects

  • Massive Change

    Whether we realize it or not, we live in a designed world. The question is: will this be a design for destruction or for a sustainable new world that we can safely hand down to our children and our children’s children?Our idea of design goes beyond the way things look to the way things work. To paraphrase Marcel Duchamp, we set out to liberate design from “the tyranny of the eye.” Surveying the world we found hundreds of examples where visionaries were using design to effect positive change in the world. We called this pattern Massive Change.We collected these stories into a best-selling book, a radio program and a touring museum exhibition that shattered attendance records in Vancouver, Toronto and Chicago. The relationships we developed with the world’s leading innovators form a community of purpose and expertise we regularly tap into as we pursue the paradigm-shifting principles of Massive Change in all we do.It’s not about the world of design, but the design of the world.www.massivechange.com
  • The Secret To Making A Difference

    Our studio is part of the MDC Partners network. This is a group of innovative and creative organizations, all world-class leaders in communications, design, advertising, marketing, digital media, and public relations. So, when Miles Nadal, Chairman + CEO of MDC Partners, asked us to produce a book of quotations celebrating the company’s 30th anniversary, we were thrilled.BMD had previously collaborated with MDC Partners on The Secret To Success commemorating the company’s 25th anniversary.The mission for this project was to produce a book of quotations celebrating the human capacity to make a difference. BMD organized The Secret To Making A Difference around eleven overarching themes, pertinent to making a difference, including Attitude, Vision, Persistence, Audacity, Love, and Change. The end result is conceptually ambitious, technically complex, and really quite delightful. We developed a distinct design approach for each section, including 3D effects, invisible ink, an embedded flipbook, and removable objects (bumper stickers, tattoos, stencils, etc). In this increasingly digital age, it’s still incredibly rewarding to push the bounds of the printed book.

SOURCE

3. Pascal Zoghbi

Pascal Zoghbi, Arabic Type Designer and Typographer, design work ranges from creating new Arabic fonts, corporate identities and print publications. Since 2006, after his graduation from the Type & Media course at The Royal Academy of Arts in The Netherlands with a Master of Design, Pascal was involved in an impressive collection of new Arabic type design projects. He has created contemporary Arabic fonts for leading Middle Eastern Newspapers, urban places, art events & magazines, software and several other companies. Pascal took part of the Typographic Matchmaking 01 and 02 projects organized by The Khatt Foundation. He has been teaching typography and type design courses at graphic design schools in American University of Beirut AUB, Lebanon at Lebanese American University LAU and Notre Dame University NDU and since 2006. He frequently gives lectures and workshops about Arabic type and typography and he runs a blog about Arabic type and typography. He recently co-authored and edited the “Arabic Graffiti” book that is published by “From Here To Fame” in Berlin.

Field of Industry and Specialization

Typography

Web Presence

http://www.29arabicletters.com/profile/

Major Projects

  • Who is the Arab?

    Who is the Arab is a poster for the lecture I gave at The Royal Library in Stockholm entitled “What are these Arabic letters?”.The answer to the question “Who is the Arab?” can be answered by one word or with a long discussion of book writing. The question is some basic yet it is so deep and complex that no one answer will cover all the aspects of the topic.The typographic Arabic letters intertwine with the Arabic “kafiya” image to create an stimulating visual.
  • Arabic Graffiti

    Arabic Graffiti book is a documentation of the Arabic graffiti scene in the Arab world and a showcase of Arabic graffiti street artists and typographers. The book was created by Pascal Zoghbi and Don Karl and is published by From Here To Fame Publishing House in 2011.The layout and design of the book is clean and simple with a hint of rough urban street art texture. The layout of the chapters had to incorporate the main text, images and captions in a simple comprehensible structure.The book is in English but incorporates Arabic in the titles and captions to clarify the context and visuals in a certain chapter. Rough stencil graphics were used in the section separators of the book to convey the atmosphere of graffiti. Stencils from the Arabic font Hamsa font are used to create the Arabic sections titles. Massira spray is used for the chapter titles alongside Fedra. Both Hamsa and Massira fonts are fonts inspired from urban street writings and are designed by Pascal Zoghbi. Fedra Serif type family was used for all English text in the titles and body text.

4. Shaikha Al Mazrou

Shaikha Al Mazrou is a UAE national whose work investigates the use of mass-produced electronic waste as appropriated ready-mades for the creation of artworks that deal with colour, form and interaction.

The conceptual development and the assemblage method of these artworks pose diverse questions on formal aspects such as material, form, repetition and geometric structure. It is a process that, inevitably, sets off an unquestionable challenge to the ideologies of industrial mass production through its handmade qualities. The large-scale installations are metaphors for the urban development schemes, a personal revisiting of the works of Paul Klee, Wassily Kandinsky, Donald Judd and Carl Andre that anchors the formal qualities of the work in an art historical background.

Her current work explores the phenomenon of synchromism, the correspondence of colour and music. Her use of obsolete found objects is not only testing our intellect and our tolerance of what a gallery space can bring to the attention of its public, but is also an exploration of colour harmony in relation to musical harmony.

Group Exhibitions

2011
Art Dubai, Dubai
House 44, Al Bastakiya, Dubai

2010
Sharjah Cultural Days in Passau, useum of Modern Art, Passau
Bytes and Pieces, Al Serkal House, Sharjah
14th Asian Art Biennale, National Art Gallery, Dhaka
Experiment, Maraya Gallery, Sharjah
Exit 5, College of Fine Arts and Design, Sharjah
28th Annual Exhibition of the Emirates Fine Arts Society, Sharjah Art Museum, Sharjah

2009
Closure, College of Fine Arts and Design, Sharjah
That Gallery Opening, College of Fine Arts and Design, Sharjah
Islamic Motive, College of Fine Arts and Design, Sharjah
Closure, Artwork- MK, Milton Keynes
Emergence, Tenri Cultural Institute Of New York, New York
Artists Over The Frontiers, Prayer Flags, The Commune Chauveroche (France)
Artists Over The Frontiers, Prayer Flags, Lyon
Peace Postcard, Contemporary art space, Gosford
Peace Postcard, ACU Gallery, Strathfield
2008
Peace Postcard, Regional Centre for Educational Planning, Sharjah
Peace Postcard, Al Kahf Gallery, Bethlehem
Dar Al Fonoon, Creek Art Fair and design, Dubai

2006
Opening, College of Fine Arts and Design, Sharjah

Web Presence

http://www.viatraffic.org/index.php?page=shaikha-al-mazrou

Major Projects

  • CPU
  • Printed Circuit Boards (2009)
  • Printed Circuit Boards (2010)

What’s Happening Now?

For the first project in this course, we were asking the create a mind map visualizing what’s happening to the world right now, and how design and designers can help fix those problems. We watched a few movies like HOME, and The Story of Stuff, which was really an eye opener. I started writing down the facts that shook me the most and brainstorming. After that, we watched some inspirational movies about how change can happen. I then started brainstorming ideas about design and how it do good.

Here are my notes and sketches:

Layout Sketches:

I wanted my mind map to look very sketchy and handmade even though it will be designed digitally using Adobe Illustrator, because the main idea behind a mind map is putting down everything on your mind on paper in a very quick and sketch manner to just arrange ideas and thoughts.

Design Process:

Final:

Final Boots Arabic Logo

Hi again!
So I’ve been working on my Boots logo translation, and I’m finally done with it :D. I had to make few different variations to come up with the final design. Some of the things I had to consider before designing the logo included: the thicks and thins in the lines, color, composition, spelling/readability, and the over all feeling of the logo.

 

As you can see, my only stumbling block was trying to make the letter “س” match the rest of the letters and keeping it consistent. First I tried using a ready س from an Arabic typeface, however it did not match the rest at all. Then I sketched it on a paper and traced it…. still did not work. Finally, I used another ready Arabic typeface, but I played with the shape and made it more curvy. I added the top and bottom extended line to make the Arabic logo match the English logo as much as possible.

 

Here is the final logo:

I’m back!

Hello everyone!!
It’s been long since my last blog post, I guess I was too busy enjoying my summer vacation that ended a bit too soon :’). It’s okay though, I am ready for this new  year with full energy, and I will hopefully do my best since I’m graduating next Spring.

We’ve started our Typography 2 course with a small interesting exercise where we have to make an Arabic version of a chosen logo. The logo I chose belongs to Boots Pharmacy. I chose it because it was the first logo I saw when I started looking for a logo that did not exist in Arabic. I’m already imagining how the Arabic version might look like. Can’t wait to start working on it! 😀

Final Photography and Presentation Board

Hey!

I’m finally DONE with everything for this course, YAY! It has been an absolute wonderful experience to be in a small class, with wonderful classmates and an amazing teacher (I LOVE YOU GUYS!).

I’ve printed and photographed my promotional kit, and designed the presentation board. Here they are:

Presentation Board