Plau type workshop slides
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The document outlines a workshop focused on drawing letters for logos, lettering, and fonts, including key design fundamentals, best practices, and tips for digital letter creation. It covers topics such as warm-up exercises, proportions, and adjustments needed for achieving visual balance in typography. Additionally, various resources and methods for drawing and refining fonts are provided, alongside acknowledgments to contributors in the field.
Plau type workshop slides
- 1. Drawing letters for logos, lettering & fonts
- 2. Workshop goals Learn/remember some type design fundamentals. Improve the analysis of fonts/lettering and proportions Best practices and time-saving tips when drawing digital letters.
- 3. This is my first attempt at drawing type circa 2002. Do not quit!
- 4. Content 1 Warm-up exercice 2 Key fundamentals 3 Planning 4 Drawing digital letters 5 Resources
- 5. 1 Warm-up exercice 2 Key fundamentals 3 Planning 4 Drawing digital letters 5 Resources
- 6. Monogram (15-20 minutes). Draw 2-3 name initials in pencil or any kind of writing tool that suits your personality. Try different tools and see how the outcome differs. Aquecimento 1
- 7. 1 Warm-up exercice 2 Key fundamentals 3 Planning 4 Drawing digital letters 5 Resources
- 8. Fundamentals 2 Shapes that have the same absolute height…
- 9. Fundamentals 2 …need to be adjusted so they look the same height. Forget math for a minute, type design is all about your eyes!
- 10. HOAHOAHOA Fundamentals 2 The same effect on letters.
- 11. Fundamentals 2 Math centering a vs. optic centering b. Move objects up a little so they look centered (and not falling). A B
- 12. A B Horizontal stems look bigger than vertical. Which of these 2 look balanced?
- 13. A B B is visually adjusted for this optical illusion. Shorter horizontal stems, middle bar moved up a little so it looks balanced.
- 14. A B Which of these “io” looks better?
- 15. Increase curved areas so that they match straights. B curves are the same width as the straights, which doesn’t look right.
- 16. a: geometric vs optical construction.
- 17. These visual compensations are what makes letter more legible and pleasing to the eye. On the right is Futura.
- 18. Fundamentals 2 Bolder fonts will look smaller if they have the same x-height. Increase the x-height of bolder letters to compensate this effect.
- 19. finesse finesse Fundamentals 2 The heavier the letters, the smaller the counters which calls for…
- 20. finesse Fundamentals 2 … an adjustment in spacing so form and counterforms look balanced. finesse
- 22. Fundamentals 2 The white spaces are just as important as the letters themselves.
- 23. Fundamentals 2 Always smooth out the joins of straight to curved segments. Avoid the “bone effect”.
- 24. Fundamentals 2 Do not fear the Bézier curve. Ever!
- 25. 1 Warm-up exercice 2 Key fundamentals 3 Planning 4 Drawing digital letters 5 Resources
- 26. Some decisions to make Final use Style/Personality Family planning: weights, styles etc. Proportions Legibility Planning 3
- 27. Final use Wayfinding Sans: Ralf Herrmann. Signage.Bell Centennial: Mathew Carter. Type for newsprint. Verdana: Mathew Carter. Optimized for screen display. Akceler Alt: Andrej Dieneš. For sports magazines. Planning 3
- 28. Personality/Family Planning Primot Guanabara Sans ‘13 Display Type (Primot/WIP) Lettering Super family – multiple weights and styles. Planning 3
- 29. H VH V Contrast and style. Planning 3
- 30. Ax Ax Ax Planning 3 Altura de x Guanabara Sans | Mrs. Eaves | Maple Black
- 31. AxPeles sernatur ad endis endae omnisti onemquatur? Atiatiis quodit, si sum re nus evel et quo temporeri dolessinvel molut exeraTur aut minus ulpa alitat. Voluptae senis ut laborem perumquibus. AxPeles sernatur ad endis endae omnisti onemquatur? Atiatiis quodit, si sum re nus evel et quo temporeri dolessinvel molut exeraTur aut minus ulpa alitat. Voluptae senis ut laborem perumquibus. AxPeles sernatur ad endis endae omnisti onemquatur? Atiatiis quodit, si sum re nus evel et quo temporeri dolessinvel molut exeraTur aut minus ulpa alitat. Voluptae senis ut laborem perumquibus. x-Height affects word count. Same for condesed/expanded fonts. Guanabara Sans | Mrs. Eaves | Maple Black | 30/36pt Planning 3
- 32. Proportions – top is not as well proportioned as bottom. Study time tested fonts and train your eyes for good proportions. Hamburgefons Hamburgefons Myriad: Robert Slimbach/Carol Twombly Planning 3
- 33. Calligraphic origin Garamond Didot Scala Sans Helvetica ea ea ea ea Planning 3
- 34. Niels Shoe Meulman Tony DiSpigna Planning 3 Calligraphic origin
- 35. milliliter milliliter milliliter milliliter Guanabara Sans lowercas l is adjusted to be more readable. Helvetica: l can be confused for an uppercase i. Planning 2 Legibility Erik Spiekermann
- 36. Ok, nice.
- 37. But where to begin?
- 38. 1 Warm-up exercice 2 Key fundamentals 3 Planning 4 Drawing digital letters Tips Method 1: Modular Method 2: From Scans Method 3: Strokes Method 4: Straight up Masters 5 Resources
- 39. Sketch and define things early on. Drawing 4
- 40. Drawing 4
- 41. Drawing 4
- 42. Hamburgefons Adhesiontext First words Will help define the personality and features of the other glyphs. Drawing 4
- 45. HO no Kickstart your font start with one straight and one rounded letter. You can define many letters from these basic shapes, and it will give you a good starting point for spacing. 4 Drawing
- 46. HOHOHO hohoho Spacing Para decidir o espaçejamento entre as letras, comece pelas duplas HO maiúscula e minúscula. Assim você já tem muitos espaçamentos resolvidos (lados circulares e retos). 4 Drawing
- 47. HDFEL OQCD MN WYX ZS Groups of shapes (construction) 4 Drawing
- 48. oec pdbq fjg nmu il kzs vwyz 4 Drawing Groups of shapes (construction)
- 49. ABC0123 For text fonts, numerals are a little shorter than Capital Height so as not to overpower them in text. 4 Drawing Minion Pro
- 50. 01234567890 01234567890 01234567890 Some types of numerals 4 Drawing
- 53. Start to love the blend tool (Interpolation) AAALight BlackBook Drawing 4
- 54. Use interpolation to test letter variations. Drawing 4
- 57. SCAN Drawing 4
- 58. Drawing 4 Scan
- 61. Drawing 4 Final result Clube de roupas infantis babycub
- 62. STROKES
- 63. Drawing 4 Width tool (Illustrator – Shift + W)
- 67. Drawing 4 From strokes, you can also start simple monoline letters like this S for example. But remember, it will need lots of tweaking for you to call it a letter.
- 68. STRAIGHT UP… JUST GO FOR IT😈
- 70. Hoefler & Frere Jones
- 71. House Industries
- 72. Adrian Frutiger
- 73. Doyald Young
- 74. Herb Lubalin
- 75. Alex Trochut
- 76. Louise Fili
- 77. 1 Warm-up exercice 2 Key fundamentals 3 Planning 4 Drawing digital letters 5 Resources
- 78. Resources 5 Learn more! Briem.net: http://briem.net Hoefler & Frere-Jones: http://www.typography.com/ Letritas: http://letritas.blogspot.com Type Drawers: http://typedrawers.com Typophile: http://typophile.com Typotheque: https://www.typotheque.com/articles Unos Tipos Duros: http://www.unostiposduros.com/ Type Workshop (Underware): http://www.typeworkshop.com/
- 79. Books Logo, Font & Lettering Bible. http://goo.gl/4djGZt The stroke, Theory of Writing. http://goo.gl/Xr9rR Counterpunch. http://goo.gl/hcQVDo Letterletter. http://goo.gl/PcGyjF Designing Type. http://goo.gl/HZ7TL Scripts: Elegant Lettering from Design’s Golden Age. http://goo.gl/qCqyb Elementos do estilo tipográfico. http://goo.gl/sAAxZ Stop Stealing Sheep. http://goo.gl/8YKUK1 Metro Letters. http://goo.gl/5CWs5e Resources 5
- 80. THANK YOU! email rodrigo@plau.co link plau.co behance behance.net/plau twitter PlauStudio facebook facebook.com/plaudesign a big thanks to: Vanessa Padua, Cristiano Junqueira, Betina Cupello and everybody at Saravah, Cida, Eddy e Martha, Gu, Nina, Família Padua, Mark Mullin, Eduardo Varela, Lucas Azevedo, Daniel Campos, Matheus Fragoso, all the designers and coders from Niramekko and Plau and everyone who inspired and taught me so much! fonts: Guanabara Sans, SS Social, Futura, Myriad, Minion Pro, Motiva Sans, Bordonia, Primot.