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TYPOGRAPHY

A few months back, we were asked to participate in the Canada Line Public Art Program. The result was an exhibit organized by Working Format and presented at the Waterfront Station’s Platform Gallery. The theme of the show was “Intersections“, as interpreted by various Vancouver graphic design studios.

“Great cities are defined by great intersections; Locations that play host to significant historical events, define the culture of a neighbourhood, and are the meeting point for diverse groups of people. Intersections invites seven Vancouver-based designers to explore seven essential locations throughout our city.”

Through luck of the draw, our Intersection was Broadway & Granville.

What a great project to be involved in. I have many fond memories of the Broadway & Granville intersection. Early in my career, I had a run at another design start-up (before I was fortunate enough to partner with Sue) that was located in that neighbourhood, and I used to grab my coffee at that intersection almost every morning. Years ago I had taken some photos of the historic Dick building with the spinning neon Kaplan Education Centre sign (while it still worked). We also dug up some historic photos of the long gone Aristocratic dinner that used to be a late night go to staple while I was in art-school. All that is left of the dinner is a faux neon sign in the window of the Chapters bookstore that is on the same corner. The shopping along that stretch of Granville is great, and only getting better. So many aspects to focus on. However, in the end, what it really came down to was public transit.

“The focus for the Broadway & Granville poster was the prevalence of public transit found at the intersection. Six major bus routes converge on the intersection and the 99B-line along the Broadway corridor moves more people than any other transit route in North America. The layered, abstract photograph of the trolley cables creates visual texture in the background of the poster. The custom typography is reminiscent of the hand painted shop signs and storefront windows from the high society days of the neighbourhood.”

Other posters on display are by Glasfurd and Walker, Post ProjectsSeterah ShamdaniState CreativeWorking Format, and Zach Bulick. Great company indeed. Please visit the exhibit, up until later this summer.

 

CRA Broadway&Granville 2

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A few weeks back I had the privilege of attending Work & Turn‘s Crafting Type; a 5 day intensive workshop all about typeface design. As soon as I heard about the program, I jumped at the chance to attend. For years I have been waiting for an opportunity to attend a type design workshop. I would longingly read reviews about the Type@cooper program in NYC, knowing full-well that I would never be able to afford the time away from work or family to attend such a self-indulgent nerdfest. Then out of the blue, a type design workshop pops up in Edmonton (EDMONTON?) of all places. My old stomping grounds! I could even crash at my parents place, borrow my dad’s car (Update: sorry about that photo radar ticket, Dad!), if I was lucky, maybe Mom would pack me a lunch (and she did).

Sure, it wasn’t the rigorous 5-week intensive condensed program in typeface design at the Cooper Union, but Crafting Type was no slouch. Kyle and Jeff (Work & Turn) brought in type heavyweights to do it right, three graduates of the MA Typeface design at the University of Reading; Dave Crossland (UK), Eben Sorkin (USA), and Octavio Pardo (Spain). Three guys that love all things letters, fantastic instructors that complemented each other well, and they each brought a distinct and well-balanced approach to type design.

The 37 participants started off by drawing individual letters (curse you letter “o”) and learning the proper technique for sketching letterforms. We also gained insight into understanding how and why letters are formed the way they are, and how type is related to, yet different from handwriting. At the end of the day I was amazed at how much I had learned, and it was only day 1.

After a full day of pencil drawing (my poor clawed hand), Dave introduced us to FontForge; an open source type design program, which happens to be free. At first I was skeptical, but after working with Fontforge for 5 days, I’m a convert. I will be utilizing FontForge for the majority of production on my next typeface project.

The remainder of the week focused on massaging glyphs in order to get them to relate to each other, mixed with lectures about letter spacing and kerning, multiple weights, italics, diacritics, ligatures, open type functions, and hinting. After day 5 most of us had only completed a handful of letterforms, but we were well on our way to developing new industry standard fonts. It was tough work and a whirlwind of knowledge, but there was plenty of lively discussion about fonts, tote bags filled with typography books and typographic freebies, coffee & cupcakes, and a great after-party to wrap the whole week up.

At the end of it all Crafting Type was 12 hour days fully immersed in drawing letters and focusing on creating a system of glyphs that work as a cohesive unit. I loved every moment.

 

Type Design Workshop

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With the weather finally warming up here in Vancouver, we have been indulging in many picnics. Even though I have been quoted as saying Just because it is sunny, it doesn’t mean you have to go outside, I do enjoy hanging out in the sun and snacking on great food. All the picnics got me thinking about this gem that I recently came across while digging through the vaults. This is my first printed work, back from when I was ten years old; a full page newspaper advertisement for Canada Safeway. The local paper where I grew up decided to hand over control of an entire edition to the students of my elementary school (ballsy!). Look at that hand-rendered typography, so ahead of my time! Easiest project ever, absolutely zero client revisions and no nosey “creative director” looking over my shoulder! My obvious career path was laid out before me.

I still can’t believe they actually ran it.
Enjoy the Sun!

 

hand typography

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Sorting through the collection of sign photos from my trip to New York City (or I should say Manhattan), it became apparent just how much the street level typography helps define the character of particular neighbourhoods. Even with all the urban renewal steamrolling through the city, obvious attempts have been made to hold onto existing treasures or recreate quintessential typographic elements. Retail giants dominate the advertising and storefronts, and the slick art gallery system and entertainment industry that permeates the city obviously lends a certain polish, but there is a visible amount of hand-crafted work that nicely offsets the corporate gloss. NYC presents a wonderful variety of signs, for all levels of communications. Inspiration is on every street corner. In addition to these, here are some more signs that caught my attention while meandering through the city.

 

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New York City is a visual treat. The City that Never Sleeps has something to offer everyone, and on my recent visit, it offered up a dizzying array of letterforms and signage that I found just as interesting as the characters that inhabit the five boroughs. It felt like there was construction on every block, with an increase of slick, sterile, pre-fabricated letters dominating the streets. However, with urban density dominating Manhattan, typographic gems were everywhere, old & new. Hand lettering is alive and well in New York. Neon lighting is everywhere, thankfully not just in Times Square. Here are a few of my favourites, from the over-the-top visual noise pollution of Times Square, to the over-the-top paranoia of Fallout Shelters.

 

NYC signage

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