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green = key ideas

yellow = reference/ quotes

purple = peer feeback

blue = Testing/Experimentation

pink =

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I loved the thinking through making attitude of this book and it introduce me to the word 'Semiotics' even though I alresyd encountered it somuch in my day to day life.

I learnt a lot about Sassure and Pierce and particularly found Saussure's thougths on the audience, or their lack therof rather unsual, especially with the audience dependent world we live in nowadays.

However I did like his observation that we all ahve an underlying undersatdning of certain symbols!

New understanding of systmes and their contexts form this book

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"From an early age we are taught a relationship between the signifier and the signified. This is not something we are conscious of, but it remains one of the most fundamental building blocks in the structure of language"

-Visible Signs

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Annotated core text - The Politics of design

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Annotated core text - The Politics of design

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The wheelchair example in this was mindblowing!

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Annotated core text - Experiemnts in imaging otherwise

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Annotated core text - Experiemnts in imaging otherwise

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Found this a more difficult read as felt like the ramblings of a unsure person. However by the end I loved it and their were some beautiful and thought provoking quotes throughout.

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Unit 2_ core readings and resources 2023–24

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"...otherwise as in, a firm embrace of the unkowable; "

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"...otherwise as in, a firm embrace of the unkowable; "

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- Experiments in imagining otherwise.

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Type workshop using balsa wood and taped together pencils to learn the basics of typogrpahy and how to draw them ourselves.

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What was our favourite ,

what was our least favourite and why?

What do they make you feel

What can we technically analyse about them.

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Words Learnt:

Modulation/ Contrast - difference btween thickest and thinnest parts of the letter

Bracket - curve added between two perpendicular edges.

Counter - inside space of round letters

Stress/ Attitude - where the letter feels most 'centered' doesnt necessarily have to be in the middle and may be on an angle

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KEY WORDS:

Unicals, Miniscules, Broken Script, Counters, X-height, stem, bowl, arch, Cross- bar's, bracket, terminal, openings.

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The website that owns the Castle down font.

Helped.with the creation and production of the font alongside headteacher Mr Small

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Jumping Frogs

Mr. Jock

Bags few Lynx

TV Quiz PHD

Black Quartz

Liquor Jugs

↑ Castledown Heavy Italic

A mural to brighten up a dull wall

Metals against corrosion Woods against decay

A. Smith, Greengrocer, Bloggs Tyres are best

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Colophon is an international, award-winning type foundry based in London (UK) and Los Angeles (US). We create, publish, and distribute high-quality retail and custom typefaces for analog and digital media.

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the font's history and why it was created.

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Of all the places you'd expect to find a bespoke typeface, the website of an elementary school probably isn't one of them. And yet, if you go to Castledown Primary School's home page you'll see a friendly, sans-serif font created specifically for the East Sussex, England school.

When Castledown headmaster Neil Small commissioned London design studio Colophon Foundry, he had a big ask: Could the designers come up with a typeface that not only looked good, but improved students' reading and writing skills, too?

After years of using standard library fonts, Small had grown weary. "I've been frustrated with the lack of clarity of letters in fonts since my beginnings as a teacher," he explains. He wanted a unifying typeface that could satisfy all of Castledown's guidelines: sans-serif, dyslexic-friendly, and shaped similarly to the way kids naturally write. On top of all that, the font should be a learning tool, helping students to improve their reading and writing.

A pre-made font that met these requirements didn't exist, to his knowledge. Dyslexic-centered fonts were too clunky. Arial and Times New Roman weren't unique enough. Then there was the issue of proper form. Many typefaces use a double-story "a" (the type of "a" you're reading here); Castledown taught its students to write a single story "a". Ideally, the typeface would be an example for how students should be writing their own letters.

The font that came closest to satisfying Small's conditions was, ironically enough, one of the most widely despised: Comic Sans. "We settled with Comic Sans, but we didn't like the overall look of it, and so we were never entirely happy," Small says.

Colophon created Castledown to be the school's de-facto typeface. Nominated by London's Design Museum as a design of the year, it comes in multiple versions: regular, which will be used for the school's official mailings and letters; fun, which looks like the polished, grown up brother of Comic Sans; cursive, for teaching children how to write; and heavyweight.

All of the cuts have the poise of a sleek sans-serif and the natural softness of a letter written by hand. This was on purpose. "We were really trying to rationalize Comic Sans," says Edd Harrington, who along with Anthony Sheret designed the font. "We wanted to have a rationale behind why the forms are becoming more friendly."

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A Custom Font That Helps Kids Learn to Read and Write

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Of all the places you'd expect to find a bespoke typeface, the website of an elementary school probably isn't one of them. And yet, if you go to Castledown Primary School's home page you'll see a friendly, sans-serif font created specifically for the East Sussex, England school.

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Created by a headteacher Mr Small, from Castledown Primary school.

He wanted to create a font that made it easier for young children to learn how to read and write.

He also wanted this to be dyslexia friendly.

This font was largely based around comic sans and is considered a close relative of the typeface.

The things that make this font unique are the stress' based of the way children naturally write rather than a mroe traditionalist type where everything is done in particulafr movements.

They instead analysed how the kids write and created the font based of that - empathetic creation.

"...to unify typography within primary education"

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Lowercase 'a'

I chose a because of this nature of the font, as children it is the first letter we are taught to read, write and learn, so it seemed fitting conceptually.

It also shows lots of parts of the castledown font.

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Selecting an appropriate font for a project lies in the ability to understand more than what a font looks like.

An avant-garde font from the early 20th century set alongside a serif humanist font from the 17th century will be a confusing contrast-the fonts would contradict each other. In contrast, pairing 2 fonts from the same era of similar styles will harmonize on the page.

An essential part of choosing, pairing, and formatting fonts lies in the ability to describe them. Plus, your ability to describe type will make your rationale for design rock solid-and selling your designs is a fundamental part of being a successful designer. (Check out designers' favorite typefaces here.)

Describing type will be broken down into:

Font classifications

Anatomy of type

Display or text

Note: I'll be using "points" as a unit of measurement. Points translate across all typographic mediums, whereas units like "ems" or "pixels" focus on screen only.

Additional words (such as ligature or glyph) will be described as and when they're used so they're shown in context with the definition.

Font classifications

There are 7 primary classifications to help describe and choose type. They were devised in the 19th century and still stand today:

Humanist and humanist sans are inspired by the letterforms of calligraphy, the gentle curves and strokes emulating that of a human hand. Transitional typefaces are a step away from the emulated edges of a calligraphic pen, and they have sharper edges and a starker contrast. Modern, slab, and geometric are further away from the humanist letterforms, instead being created through heavy lines, stronger contrast, and geometric shapes.

There are looser classifications of type (e.g. grotesque or handwritten), but there isn't a standardized method of describing them. Many of these fonts have characteristics that can be described using the primary classifications.

Anatomy of type

Every letter in every alphabet is unique and can be broken down into their core anatomies. Understanding the construction of each glyph will give you a greater appreciation of what makes each typeface different, and it'll make it easier to pick a font that's appropriate for what you need.

To break down the segments of each glyph, these are:

Descender: The part of a glyph that descends below the baseline in letters such as g, p, and y

Counter: The white space within a curved letter in letters such as a, c, and e

Serif: The "feet" of a letter; sans serif literally means "without serif"

Spine: The center part of the stroke in the letter "s"

Ascender: The part of a glyph that ascends above the x-height in letters such as b, d, and h

Stem: The vertical stroke of a letterform in letters such as F and H

Bowl: The closed, rounded part of a letter in letters such as a, b, and p

Terminal: A type of curve that ends without a serif in letters such as a, c, and f

In addition to the anatomy of a letter is how lines of text are made up. These terms are particularly helpful when trying to pair fonts or adjust font sizing.

Cap-height: The distance from the baseline to the top of a flat letter such as E or F

Baseline: The line on which letters sit, ignoring the overhang of curved letters

x-height: The height of a lowercase letter "x" or the main body of each letter, excluding any ascenders or descenders

This is a list of the most common words used when discussing the anatomy of type. To delve into the deep world of typography terminology, take a look at Typography Deconstructed.

Display or text?

Classifications and anatomy aside, every font is created with a different purpose in mind. One of these is whether the font is suitable for display, text, or both. Put simply, display fonts are used for large text or headings and text fonts are used for just that: body text.

Pairing fonts is something we'll talk about later in this course, but here's a teaser: A font should be used for its intended purpose. A display font has been designed for use at large sizes, so it won't be optimized for smaller sizes. In the same way, text fonts weren't designed for use at large sizes, so they'll lack the punch or detail provided by display fonts, yet they remain legible at small sizes.

Superfamilies

Some type designers just create a single typeface of one weight and style, but there are others who create vast families of fonts that include every variant the user of the font could hope for such as small caps, serif, sans serif, display, and text: all in one.

Superfamilies like Freight by Darden Studio are vast, versatile, and will pair together by design even when contrasting serif and sans serif text. This is just a small selection of the fonts available in the family, and it's clear to see how the display font, text font, and text sans font harmonize with one another on the page.

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How to describe typefaces | Inside Design Blog

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An essential part of choosing, pairing, and formatting fonts lies in the ability to describe them.

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Loved this reading!! Learnt so many technical terms about typogrpahy it completely chnaged my understanding and approach to this brief. Brilliant read!!

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Brainstorming 40 ways to analyse the font

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Brainstorming 40 ways to analyse the font

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Both from my thoughts and peer feedback...

simple

minimalist

easy

round and fun

playfully simple

open

organised

uniform

young

modern

centered

childish

boring

basic

plain

monotone?

smooth voice

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Artists that use instruction as their medium

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Artists that use instruction as their medium

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e.g

Yoko ono -

Her's are so effective because of the openess/ abstract element of the instructions

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Art by instruction is a theme that has been used for years by artists such as Yoko Ono and Robert Smithson; with artists giving instructions to others to complete their artwork, often allowing for interpretation. However it has been reinvented by French artists Christian Boltanski and Bertrand Lavier and Swiss curator Hans Ulrich Obrist after a talk they had in 1993, to expand into something a lot bigger. The brief varies from country to country and gallery to gallery but the concept has remained the same, a series of artists will put together a to do list for other artists, the museum or visitors to carry out either for or in an exhibition space, or in the wider world.

The artists who put together this concept were inspired by artists who came before. Yoko Ono has been working with instruction based principles throughout her career as an artist; one example of this being 'smoke painting' in 1961, where she invited those attending her exhibition to follow the instructions; 'Light canvas or any finished painting with a cigarette at any time for any length of time. See the smoke movement. The painting ends when the whole canvas or painting is gone.' Robert Smitherson is another inspiration for the do it series, in 1969 he left a series of instruction on a card for the pictures that he wanted to be taken, for the artwork '400 Seattle Horizons'. With these works there is often left a question of ownership; who has the right to claim the work as their own, the creator of the instructions or the person following them?
the other question often asked is is it really art? In 1968 Lawrence Wiener showed a work called ' two minutes of spray paint directly upon the floor from a standard aerosol spray can' which exactly what it says it is, the title being a set of instructions for anyone to go out and copy. But does the fact that you can easily recreate it mean it is any less of an artwork? And does he want this art to be reproduced in a wider context?

' Do It has had more than 60 incarnations: as exhibitions, archive, online video clips, seminars and peripatetic events on every continent. And all manner of artists - from Richard Hamilton to David Lynch, Elaine Sturtevant to Sarah Lucas - have offered instructions, as have critics, scientists and philosophers, not to mention choreographer William Forsythe and novelist Douglas Coupland. Do It is both populist and esoteric. Anyone can join in, and the instructions range from the daft to the dangerous, the unfulfillable to the apparently meaningless. '

https://www.theguardian.com/artanddesign/2013/jul/09/do-it-manchester-festival

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Art by instruction is a theme that has been used for years by artists such as Yoko Ono and Robert Smithson; with artists giving instructions to others to complete their artwork, often allowing for interpretation.

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What makes instructions easy to follow and why?

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What makes instructions easy to follow and why?

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Font charchteristics and their use in dedign

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Font charchteristics and their use in dedign

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1. Font Weight - thickness of the letter stroke

thin

thick

regular

medium

2. Font Width

regular

condensed

extra extended

3. Font Contrast

difference between the main and additional strokes in a font

4. X-height

height of the base letters

5. Corner Rounding

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Guide to 10 font characteristics and their use in design

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This is an extended version of my article for the Depositphotos blog with links to all the font examples you’ll see below. If you are…

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"Corners, intersections, and edges are natural visual irritants."

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"Corners, intersections, and edges are natural visual irritants."

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Test 1 - how can I utilise classroom materials

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Test 1 - how can I utilise classroom materials

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pt2

This tested whether using a pencil as a height measurement would work.

Tested on a peer in graphics and they found the idea of this difficult without previously knwoing the letterform.

My instructions on this were not clearly planned otu nor well tested.

Have learnt for next time to test, test and retest my instructions. Imagine you don't know the letter form at all what do you come up with?

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Exploring whether to use lino rubber or actual classroom rubbers....

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Exploring whether to use lino rubber or actual classroom rubbers....

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I think I have decided on actual classroom rubbers, however this may affect the scale that I can produce this on.

Lino would allow the pieces to be much bigger and it may be worth showing the desired scale through lino and the real thing be done with smaller eraser prototypes.

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Please click here if you are not redirected within a few seconds.

You can use traditional linoleum to make a stamp but you need to tweak the process a little. First, I find it best to mount the lino on a piece of wood (or buy mounted lino). Secondly, when you hand print it, put a piece of scrap fabric under your paper. This extra cushion will help you get a crisper stamped image.

Oct 9, 2022 · Handmade stamps are trendy. You may choose between a rustic and simple design or a more ...
Duration: 0:56
Posted: Oct 9, 2022

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can you rubber stamo with lino - Google Search

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You can use traditional linoleum to make a stamp but you need to tweak the process a little. First, I find it best to mount the lino on a piece of wood (or buy mounted lino). Secondly, when you hand print it, put a piece of scrap fabric under your paper. This extra cushion will help you get a crispe…

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Explored this concept today both in drawing and how it can affect the way we view the outcome, because of the process we use to get to it

i.e Negative space may feel like mroe of a surprise.

positive feels more expected.

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Space maps - analysing the font through drawing and space

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Space maps - analysing the font through drawing and space

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Me working on space maps

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Converting to the letter 'g' from peer feedback

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Converting to the letter 'g' from peer feedback

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Lowercase 'g'

After asking around I found that the most castledown-y letter seemed to be the lowercase 'g', it had been drawing me towards it for a while but I wasn't sure why but especially after the peer feedback and also my visual analysis this swayed my decision.

It is still one of the first letters we are taught to read, write and learn, so it still seemed to fit that conceptual box.

It also shows the most parts of the castledown font.

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use of bright colours

wonky typeface

lots of illustration

1 scentence per page in a lot of books

Square or lanscape book format

cutouts

shapes

dynamic feeling

easy to read

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classic popular famous illustration library fiction art old shelf reading

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Testing the pen being attached to a " toy"

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Testing the pen being attached to a " toy"

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<<Link to film of testing is attached>>

Instructions would take a more storytelling, informal tone instead:

e.g

"Drive car over the hill, make sure you front wheel stays on the dotted line or the traffic man will ahve to give you a ticket!"

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Self-Reflection, What was I testing and Why?

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Self-Reflection, What was I testing and Why?

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What was I testing? And why?

I was testing whether the instructions I gave would actually follow the desired line? How would I adjust the negative space shapes to make sure the width stays exact?

Self-Reflection

I found that the pen did follow the line but when i attampted with a chiseled edge and when the pen wasn not standing upright, this did not work as succesfully. However the use of the negative space was really intruiging and I felt ready to explore that element further

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CLASSROOM OBJECTS AS MEDIUMS FOR INSTRUCTION

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CLASSROOM OBJECTS AS MEDIUMS FOR INSTRUCTION

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A 'conversation' about objects commonly found in the classroom...

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A 'conversation' about objects commonly found in the classroom...

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I opened a conversation with a group of students about what they remember as common things from their childhood classrooms/ things they most associate with the classroom.

I Graphically recorded people's answers drawing in green pencil.

Reflection:

I wanted to see what people associated most with the classroom and whether I could use these classroom materials as mediums to create the font.

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Feedback from peers on delivery of instructions

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Feedback from peers on delivery of instructions

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Testing frame, format and paper - Test 3

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Testing frame, format and paper - Test 3

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Trying a grid approach as reminded me of graph paper from school.

Gives a sense of structure to the more abstract shapes and should help the page feel more exact to the original form.

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drawing the grid

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add image here

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Which colour scheme feels most child/school-like?

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Which colour scheme feels most child/school-like?

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add image of feedback

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Thinking about how I want to deliver the outcome and instructions?

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Thinking about how I want to deliver the outcome and instructions?

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spoken?

Written?

Visual?

Easy, so feels as if made by children?

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Test 4 - Testing placement and alignment of pieces.

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Test 4 - Testing placement and alignment of pieces.

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Success!

All fitted perfectly and cut out well :)

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What do the different things represnt?

Is the negative or positive space the best part to make the

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add image

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use of childlike number, matching and esentially copycat behaviour.

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Templating the stamp alignment to the paper

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Templating the stamp alignment to the paper

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forms need to be flipped so that I can create the shapes form the stamps best

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Final iteration of page design - changed due to peer feedback on scale. 

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Final iteration of page design - changed due to peer feedback on scale. 

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Test 5 - Are the instructions easy to follow?

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Test 5 - Are the instructions easy to follow?

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Was very effective!! Worked almost immediately and took georgie less than 2 minutes to work it out.

Visible Joy was noticed at the end

"yay I got it"

"That was so easy"

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Testing to see how little instructions I could give to get the desired outcome.

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Test 5 - Recording of testing the font instructions.

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Test 5 - Recording of testing the font instructions.

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Recording of testing the font instructions.

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As a child, when learning to read or write, you are given parts of something you dont quite understand that come together to create a whole.

That's what I aim to recreate with the use of negative space and broken pieces and stamps to create that step by step feeling. That unexpected feeling of accomplishment and joy the first time you complete something.

My instructions will come in the form of a spoken tutor session. I will not be writing instructions instead the child will copy me step by step as you would do if you were a child given instructions by a teacher in the classroom settings.

I aim for this piece to be dyslexic friendly.

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Constant contast betweeen curved and triaght and feel that the organic shapes vs the gridded paper worked effectively

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Testing the different stamping materials

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Materials:

Yellow Foam (neopreme)

White Foam

Soft Lino

Erasers/ rubbers

Black rubber

Makeup Sponges

Ink :

'Winsor and Newton Scarlet Red' ink

This ink is a temporary substitute for an inkpad until it arrives. However, if more successsful than the inkpad's I will stick with this ink as it produced some beautiful results.

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I also tested each print on 3 types of paper:

The grids/maps I have created and printed out (approx 200gsm)

White (non-glossy) A3 paper (approx 160 gsm)

Off-White thick printmaking paper (approx 300gsm)

I wanted to see whether the type of paper the materials printed on gave them a bettwer chance of accuracy and finish.

This did vary a little but not so much that the change in paper was worth it as they essentially were doing the same thing.

The thickest paper was the best, as expected, however I thought the glossier white paper would not be very effective but was actually more effective than the regular A3 paper which really surpised me.

I have decided to use the glossy paper for now.

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I created a graph and analysed each of them as I went through accroding to the things I had decided to measure about them.

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Inked up materials in comparison to prints

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Inked up materials in comparison to prints

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All the stamps have some sort of variation in tone and transfer concentration. So therefore are all somewhat patchy.

To use the school erasers they will have to be formed by hand and from my testing, they leave quite large gaps of space, will these be construed as part of the letterform??\

Ink vs Inkpad:

The regular ink produced results but due to having to spread the ink on the rubber it adds an extra layer of complication for a process that doesn't turn out very even in the end.

The inkpad is great, somewhat textured but even transfer on the page however, many of the stamps are too big for the inkpad. This may just have to be something that is dealt with, as I can't get an inkpad any bigger within the timeframe.

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After the testing of the different materials and some peer feedback,and more self reflection on which one made the most conceptual and physical sense to go with, I landed on the 'school erasers' as the stamping material.

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Test 7 - How do I hold the erasers together?

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Test 7 - How do I hold the erasers together?

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I had a lot of trouble with finding a medium that strongly held the stamps together as they would have to withold lots of pressure, they couldn't afford to be delicate objects.

After trying and failing or being successful for too short a time with masking tape, hot glue, gum tape and wooden sticks even when these were all combined.

UNSUCCESSFUL :(

I was a little infuriated and worried that I wouldn't be able to complete these stamps as tested and planned.

I decided I needed a less malleable material, really metal or wood, and after a little brainstorming I decied to try using dressmaker pins. This was a SUCCESS!

The stamps were now both accurate and strong and although tedious to build made for a much better stamp in the end.

In the spirit of sustainability I will pull apart these stamps after to reuse and recycle the erasers and the pins as much as possible.

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Masking tape with wooden sticks and hot glue vs Pin method

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Making the stamps using masking tape and dressmaker pins.

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Test 8 - How can I increase ink concentration?

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Test 8 - How can I increase ink concentration?

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Press harder into inkpad and press twice in different areas to give a more even coverage.

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Test 9 - How can I decrease the gap between  the stamp marks?

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Test 9 - How can I decrease the gap between  the stamp marks?

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I really wanted to reduce the gaps between the individual erasers and I managed to do this rather successfully on a small scale but on a large scale it just wasn't feasible.

I managed to decrease the gap by shaving a small amount off the front so that The edges all met corner to corner.

However, when I did attempt and it only made the stamp more uneven on a larger scale and was UNSUCCESSFUL in the end.

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Final Iteration Instructions - What will I say...

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Final Iteration Instructions - What will I say...

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Since I will be delivering the instructions through a spoken step by step tutored session.

I will be delivering spoken instructions in stages through a tutored lesson. I will act as the teacher and the participator as the pupil. This will allow the person to understand the charachter and context of the font. Both its dull regularity and its childishness.

Since the paper I have prepared ahs two of the same thing on it, one side will be for the teacher and one for the tutor. This allows the pupil to learn hands on and in real time.

Step 1 - Today we will be learning to draw one of the letters of the alphabet. As soon as you can guess what it is, Tell me!! (making it fun and a challenge, more enticing to children as it feels as though there is a reward at the end)

Step 2 - There are 7 stamps all of which are marked with a this way up symbol and a number. This is the inkpad and this is your paper. (point to these).

The arrow means THIS WAY UP.

Step 3 - We will be placing the stamps in numberical order i.e 1, 2,3 4...

However they can be done in any order, this is my recommended one.

Step 4 - I want you to copy what I do for each stamp 1 - 3, once you feel you have the hang of it you may continue on your own. Say 'READY' when you feel this, I will check what you are doing and then let you continue.

The blue marks on the stamps line up with the red marks on the page, every stamp is numbered to align with the number on the stamp.

Step 5 - Any questions before we start?

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What you can take forward into other projects? What did you discover for yourself?

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What you can take forward into other projects? What did you discover for yourself?

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I can take forward a much mroe in depth knowledge fo the way typefaces are created and why they are created that way. This should hopeuflly allow me to be more specific and purposeful with my typographaic making and use of peer feeback in a short amount of time.

I have always thought of typography as both physcial and digital but this brief really proved to me just how phsycial and emotional typogprahy can be! I thoroughly enjoyed this discovery and am excited to read more of thr readings this week.

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Feels like school

"I feel very childish"

Really interactive and engaging

Not too easy but not so hard it can't be done.

Good balance of easiness to.

Do you have a visual instruction manual if you are not there to teach in person i.e a set of instructions.

You could create a be a seperate page in a book and by the end you create

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USING ASSOCIATION AND NOSTALGIA TO INVOKE A PRIMARY SCHOOL LIKE ENVIRONMENT.