[week 4] Response+Discussion: Young+Majoor
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Prof. Madad
Sep 22, 2009, 12:32:36 PM9/22/09
to Prof. Madad / Type Design III
Post your responses to:
Donald Young on Design Matters
My Type Philosophy by Martin Majoor
Donald Young on Design Matters
My Type Philosophy by Martin Majoor
Jacqueline Marinacci
Sep 25, 2009, 10:50:44 AM9/25/09
to Prof. Madad / Type Design III
Doyald Young & Martin Majoor Discuss the negative space around a
letter form that makes the letter successful or not. If a letters
stroke becomes to tapered or line quality become to thin that it
becomes unreadable is a reason the letter would not be able to
function in text. Majoor talks about mixing typefaces and how it tends
to abide by it's own rules leaving general guidelines out. ( X height,
width, counters, eyes, etc.) Well doesn't that mean if you were to
create a typeface where these were all scattered people would have
difficulty reading through bulks of text.
After looking up both artist, Young is more of a logo, head line
type designer as all of his fonts and big curvy thin letter forms
where as Majoor keeps to the sans and a serif that don't have much
differences then gills, or universe etc.
letter form that makes the letter successful or not. If a letters
stroke becomes to tapered or line quality become to thin that it
becomes unreadable is a reason the letter would not be able to
function in text. Majoor talks about mixing typefaces and how it tends
to abide by it's own rules leaving general guidelines out. ( X height,
width, counters, eyes, etc.) Well doesn't that mean if you were to
create a typeface where these were all scattered people would have
difficulty reading through bulks of text.
After looking up both artist, Young is more of a logo, head line
type designer as all of his fonts and big curvy thin letter forms
where as Majoor keeps to the sans and a serif that don't have much
differences then gills, or universe etc.
May Meyers
Sep 25, 2009, 5:34:44 PM9/25/09
to Prof. Madad / Type Design III
Response to Doyald Young on Design Matters
Debbie Millman preceded the interview with her personal experience of
saving cards or love letters, and how advances in technology have
altered the experience of collecting such physical mementoes. The new
generation communicates primarily through emails or text messages;
while saved emails or old phones may allow us to access a previous
correspondence, they don’t offer that same intimate proof of a shared
experience. As a culture we are also losing the skill of writing by
hand, which I feel robs us of valuable originality. I remember the
first essay I handed in for an English class at Pratt, three pages
which I had carefully handwritten the night before in the neat script
I had been praised for through high school. I was crushed when my
professor handed it back and told me to submit a typed version by the
end of the day or expect a lower grade. Since then I’ve developed a
bit of resentment towards the unavoidable technological race, and I
was glad Millman brought it up on Design Matters.
Doyald Young is an author, designer and master typographer, and at
eighty years old is as involved as ever in his work. His beautiful
curvilinear fonts have been used in multifarious designs for
everything from General Electric and ESPN to Paris Hilton, Fergie and
Prince. He believes that drawing skills are a good foundation for
designers (though he is hesitant to imply that one cannot be a good
designer without them) and says that his mantra is “drawing is
important.” He elaborates by describing how drawing helps us to see
things and their outlines instead of just focusing on the center of an
object. Drawing for Young is all about curves, as opposed to the
straight lines we can easily obtain with a ruler. He notes that much
current design work appears rectilinear, an apparent avoidance of more
complicated curves.
Young warmly credits Mortimer Leach as his “greatest teacher” and
describes him as a fanatic about detail who redrew Caslon to fit his
own aesthetics and taught Young how to make a draftsman’s point on a
pencil. On the often barely legible type that came into vogue in the
1980’s, Young is not critical, but points out his personal focus on
legibility, saying that design is sometimes more of an attempt to be
unique than an attempt to improve.
As for the advances in technology, Doyald Young would rather sketch
out a logo by hand (it takes him under a minute!) than try to do it in
Illustrator. He works small, because experience has taught him that
the logo will likely have to appear small at some point anyway. He
purchased his first computer in 1988, but has kept his focus rooted in
the pencil not the pixel. I have great respect and admiration for both
Doyald Young’s work and character, and look forward to learning more
about him.
Response to My Type Design Philosophy by Martin Majoor
Majoor’s article offered much insight into the history and development
of typefaces. I found it very relevant to our current project when
Majoor discussed combining serif and sans serif faces successfully. He
pointed out the disastrous visual headache that can occur when we
simply combine a sans serif and a serif font without knowledge or
sense of history, yet noted that this “headache” could be useful in
advertising. I found it interesting that sans serif faces were
developed later than serifs; I would have guessed it was the other way
around, with visually complex faces developing from more simplistic
ones.
As Majoor went on to cover various typefaces, I was extremely grateful
for the numerous corresponding examples, which made his textbook style
of writing more bearable. I enjoyed learning about Futura and Scala in
particular. Futura (one of my typeface choices in our assignment this
week) has always appealed to me, but I knew very little about its
history and roots in Constructivism and Bauhaus design. I was also
unfamiliar with the German characters it includes, having never had to
write in German (unfortunate, because I think they are some of the
most beautifully designed characters). I also hadn’t known that Renner
was the first to design lower case numbers for a sans serif face.
Scala was a rediscovery for me. I of course was familiar with it, but
never really appreciated it until I read about it from the designer’s
perspective. I was impressed with Majoor’s precision in creating a
thicker, visually cohesive Postscript font and with how he broke down
his idea to create two typefaces based on the same skeleton or form
principle.
Debbie Millman preceded the interview with her personal experience of
saving cards or love letters, and how advances in technology have
altered the experience of collecting such physical mementoes. The new
generation communicates primarily through emails or text messages;
while saved emails or old phones may allow us to access a previous
correspondence, they don’t offer that same intimate proof of a shared
experience. As a culture we are also losing the skill of writing by
hand, which I feel robs us of valuable originality. I remember the
first essay I handed in for an English class at Pratt, three pages
which I had carefully handwritten the night before in the neat script
I had been praised for through high school. I was crushed when my
professor handed it back and told me to submit a typed version by the
end of the day or expect a lower grade. Since then I’ve developed a
bit of resentment towards the unavoidable technological race, and I
was glad Millman brought it up on Design Matters.
Doyald Young is an author, designer and master typographer, and at
eighty years old is as involved as ever in his work. His beautiful
curvilinear fonts have been used in multifarious designs for
everything from General Electric and ESPN to Paris Hilton, Fergie and
Prince. He believes that drawing skills are a good foundation for
designers (though he is hesitant to imply that one cannot be a good
designer without them) and says that his mantra is “drawing is
important.” He elaborates by describing how drawing helps us to see
things and their outlines instead of just focusing on the center of an
object. Drawing for Young is all about curves, as opposed to the
straight lines we can easily obtain with a ruler. He notes that much
current design work appears rectilinear, an apparent avoidance of more
complicated curves.
Young warmly credits Mortimer Leach as his “greatest teacher” and
describes him as a fanatic about detail who redrew Caslon to fit his
own aesthetics and taught Young how to make a draftsman’s point on a
pencil. On the often barely legible type that came into vogue in the
1980’s, Young is not critical, but points out his personal focus on
legibility, saying that design is sometimes more of an attempt to be
unique than an attempt to improve.
As for the advances in technology, Doyald Young would rather sketch
out a logo by hand (it takes him under a minute!) than try to do it in
Illustrator. He works small, because experience has taught him that
the logo will likely have to appear small at some point anyway. He
purchased his first computer in 1988, but has kept his focus rooted in
the pencil not the pixel. I have great respect and admiration for both
Doyald Young’s work and character, and look forward to learning more
about him.
Response to My Type Design Philosophy by Martin Majoor
Majoor’s article offered much insight into the history and development
of typefaces. I found it very relevant to our current project when
Majoor discussed combining serif and sans serif faces successfully. He
pointed out the disastrous visual headache that can occur when we
simply combine a sans serif and a serif font without knowledge or
sense of history, yet noted that this “headache” could be useful in
advertising. I found it interesting that sans serif faces were
developed later than serifs; I would have guessed it was the other way
around, with visually complex faces developing from more simplistic
ones.
As Majoor went on to cover various typefaces, I was extremely grateful
for the numerous corresponding examples, which made his textbook style
of writing more bearable. I enjoyed learning about Futura and Scala in
particular. Futura (one of my typeface choices in our assignment this
week) has always appealed to me, but I knew very little about its
history and roots in Constructivism and Bauhaus design. I was also
unfamiliar with the German characters it includes, having never had to
write in German (unfortunate, because I think they are some of the
most beautifully designed characters). I also hadn’t known that Renner
was the first to design lower case numbers for a sans serif face.
Scala was a rediscovery for me. I of course was familiar with it, but
never really appreciated it until I read about it from the designer’s
perspective. I was impressed with Majoor’s precision in creating a
thicker, visually cohesive Postscript font and with how he broke down
his idea to create two typefaces based on the same skeleton or form
principle.
Emily Vukson
Sep 25, 2009, 8:54:20 PM9/25/09
to Prof. Madad / Type Design III
Interview with Doyald Young:
I thought that this interview with Doyald Young was quite interesting
because Young emphasized the need for drawing when it comes to
designing type. Debbie Millman, at the beginning of the broadcast,
stated that handmade lettering has a certain beauty, honesty,
authenticity, and effectiveness that just cannot be achieved through
computer-generated type. Both Young and Millman agreed that drawing
lettering by hand seems to be becoming more and more of a lost art, as
people can now just manipulate letters directly in programs such as
Illustrator.
Young stated that "if you improve your drawing skills, you become a
better designer." He would teach his students to "see" more
carefully, pointing out areas of flatness or sharpness in curves and
have them redraw it over and over again until they would see what was
happening and get it right. Young said that you have to learn to see
the outlines, the contour, of things and notice the curves, which is
just as important as the detailing within that outline.
I also thought what Young had to say about logo design was especially
intriguing, in that he said that he would design logos in very small
sketches because that what the main way that the logos would be used.
I thought about that for a minute. It seems as though we are often
times asked to make big sketches because they will generally be hung
on a wall for everyone to see and critique. But sometimes the best
ideas come only an inch across, scrawled on a napkin, or scribbled
with a broken crayon. Young stated that doing the sketches small
allows for greater attentiveness to typographical weights and
tracking.
I do think that we nowadays are coming to depend on computers a little
bit more than maybe we should. Sometimes it feels like the thumbnail
sketch is a lost art, but I don't think it should be like that. I'm
certainly just as guilty as probably the next person for shunning the
thumbnail and heading straight for the computer. I think we could all
certainly take a lesson from Young and try our hands once again at the
simple, small, thumbnail sketch--even if it's not much to look at at
first.
My Type Design Philoshophy by Martin Majoor:
I thought that Martin Majoor's statement that mixing typefaces
(especially serif and sans serif) together in one work is a real
hassle. It is easy to just go through your list of fonts and pick out
your favorite serif face and sans serif face and toss them together,
but it really isn't that easy. Majoor points out that if you are
going to integrate the two together, you should be mindful that they
"derive directly from each other," or that they were both made from
the same "skeleton."
He also made a statement that Beatrice Ward, the author of The Crystal
Goblet, would agree with when he wrote that "you cannot be a good type
designer if you are not a book typographer." Majoor means that good
type is the kind that is legible, not screaming, simple. The kind of
type that you would use for body text. If you do not know how to
create good 'body-text' type, then you certainly do not have
understanding enough to create display type.
Majoor also identified some of the issues when the first sans serif
faces were being produced, such as basing sans faces off of other sans
faces rather than serif faces (which produced extremely similar
looking typefaces such as Akzidenz Grotesk, Univers, and Helvetica),
or the complete lack of "true italics." Sans serif italics were often
simply slanted roman letters as opposed to true italics, which have a
system of their own.
It was also interesting that Majoor gave us a taste of his thought
process of how he came to design Scala and Sans Scala. He stated that
they were both created from the same sort of skeleton, meaning that
Sans Scala was not a terribly far cry from the design of Scala, and
that he made sure to create "true italics" as opposed to slanted
romans.
I thought that this interview with Doyald Young was quite interesting
because Young emphasized the need for drawing when it comes to
designing type. Debbie Millman, at the beginning of the broadcast,
stated that handmade lettering has a certain beauty, honesty,
authenticity, and effectiveness that just cannot be achieved through
computer-generated type. Both Young and Millman agreed that drawing
lettering by hand seems to be becoming more and more of a lost art, as
people can now just manipulate letters directly in programs such as
Illustrator.
Young stated that "if you improve your drawing skills, you become a
better designer." He would teach his students to "see" more
carefully, pointing out areas of flatness or sharpness in curves and
have them redraw it over and over again until they would see what was
happening and get it right. Young said that you have to learn to see
the outlines, the contour, of things and notice the curves, which is
just as important as the detailing within that outline.
I also thought what Young had to say about logo design was especially
intriguing, in that he said that he would design logos in very small
sketches because that what the main way that the logos would be used.
I thought about that for a minute. It seems as though we are often
times asked to make big sketches because they will generally be hung
on a wall for everyone to see and critique. But sometimes the best
ideas come only an inch across, scrawled on a napkin, or scribbled
with a broken crayon. Young stated that doing the sketches small
allows for greater attentiveness to typographical weights and
tracking.
I do think that we nowadays are coming to depend on computers a little
bit more than maybe we should. Sometimes it feels like the thumbnail
sketch is a lost art, but I don't think it should be like that. I'm
certainly just as guilty as probably the next person for shunning the
thumbnail and heading straight for the computer. I think we could all
certainly take a lesson from Young and try our hands once again at the
simple, small, thumbnail sketch--even if it's not much to look at at
first.
My Type Design Philoshophy by Martin Majoor:
I thought that Martin Majoor's statement that mixing typefaces
(especially serif and sans serif) together in one work is a real
hassle. It is easy to just go through your list of fonts and pick out
your favorite serif face and sans serif face and toss them together,
but it really isn't that easy. Majoor points out that if you are
going to integrate the two together, you should be mindful that they
"derive directly from each other," or that they were both made from
the same "skeleton."
He also made a statement that Beatrice Ward, the author of The Crystal
Goblet, would agree with when he wrote that "you cannot be a good type
designer if you are not a book typographer." Majoor means that good
type is the kind that is legible, not screaming, simple. The kind of
type that you would use for body text. If you do not know how to
create good 'body-text' type, then you certainly do not have
understanding enough to create display type.
Majoor also identified some of the issues when the first sans serif
faces were being produced, such as basing sans faces off of other sans
faces rather than serif faces (which produced extremely similar
looking typefaces such as Akzidenz Grotesk, Univers, and Helvetica),
or the complete lack of "true italics." Sans serif italics were often
simply slanted roman letters as opposed to true italics, which have a
system of their own.
It was also interesting that Majoor gave us a taste of his thought
process of how he came to design Scala and Sans Scala. He stated that
they were both created from the same sort of skeleton, meaning that
Sans Scala was not a terribly far cry from the design of Scala, and
that he made sure to create "true italics" as opposed to slanted
romans.
Emily Vukson
Sep 25, 2009, 9:04:11 PM9/25/09
to Prof. Madad / Type Design III
I do agree with May and Doyald Young that hand lettering, drawing, and
writing seem to be a lost art. I remember when I spent weeks learning
how to 'draw' letters on that awful lined paper with the dotted line
down the middle indicating the 'x-height' of my hand drawn letters in
elementary school, or learning to write in cursive for the first
time. Sure, we all probably hated it at the time, but you don't
really get a sense of the art or craftsmanship of lettering until
you've practically lost the talent for it. Who has good handwriting
these days? I try to keep up a legible print and cursive, but I'll
bet that you can't read 70% of people's handwriting anymore. And who
needs to with computers nowadays? It's sad really. I think we can
learn a lesson from Doyald Young and have a greater appreciation for
the hand written word. (Sorry your English teacher didn't agree with
you, May.)
writing seem to be a lost art. I remember when I spent weeks learning
how to 'draw' letters on that awful lined paper with the dotted line
down the middle indicating the 'x-height' of my hand drawn letters in
elementary school, or learning to write in cursive for the first
time. Sure, we all probably hated it at the time, but you don't
really get a sense of the art or craftsmanship of lettering until
you've practically lost the talent for it. Who has good handwriting
these days? I try to keep up a legible print and cursive, but I'll
bet that you can't read 70% of people's handwriting anymore. And who
needs to with computers nowadays? It's sad really. I think we can
learn a lesson from Doyald Young and have a greater appreciation for
the hand written word. (Sorry your English teacher didn't agree with
you, May.)
Message has been deleted
Jacqueline Marinacci
Sep 27, 2009, 1:34:28 PM9/27/09
to Prof. Madad / Type Design III
may meyers
Sep 27, 2009, 2:48:37 PM9/27/09
to madad...@googlegroups.com
I liked what Emily had to say in her response to Doyal Young about thumbnail sketches sometimes being the most effective. I have a tendency to start an idea with small, very rough thumbnails, but ususally revise them into neater, larger versions for ease in class critiques. I haven't really been true to demonstrating the entire process the way that we're supposed to, because I'm hesitant to display those sloppy first attempts or failed ideas. Now that I've told on myself, I'll have to bring in all my messy screwups tomorrow:)
Rose DeMaria
Sep 27, 2009, 6:38:33 PM9/27/09
to Prof. Madad / Type Design III
Doyald Young on Design Matters
“If you improve your drawing skills you’ll become a better designer,
period.” a quote from Doyald Young. This is great quote, I’d have to
agree with young, I believe it has great truth to it. It is often an
idea I hear here at Pratt as well. Drawing is a great method as Young
explains to exercise your ability to understand proportions, to
observe and to be able to make comparisons about what your looking at.
One must be attentive to what they are seeing.
His take on the use of type today and how designers are using such
small point sized is interesting. It seems with technology designers
seems to have an easier time just making the type smaller and smaller.
Im not surprised that someone of his generation would object to small
type sized because he has worked from hand and has such a keen
attention to detail and this small type lacks that detail and ability
to communicate as clearly as possible.
Another point of discussion was his method of creating logos. He
prefers to do sketches by hand rather than in illustrator and it’s
amazing he could do a sketch in under a minute! That is very
impressive. To work small seems to be an affective method because like
he said the logo will be commonly used very small so that way he could
be aware of the line weights and how they read when small. It is
definitely a method I see myself keeping in mind when coming up with
logos in my future.
My Type Design Philosphy by Martin Majoor
In this article Majoor covered many different typefaces and their
origin and what typefaces they were influenced by at times. It was
very interesting to make comparisons and see how much changed and
didn’t change between different typefaces. From the beginning though I
feel Majoor makes a stronge point how he believes you cannot be a good
type designer if you are not a book typographer. What he’s suggesting
to me is similar to Doyald’s priorities which is legibility. He feels
also it is very important for typefaces to be legible and for the lack
of a better word, flexible, for they can be used for a display face
and text.
Patamavadee Nguiakaramahawongse
Sep 27, 2009, 10:16:49 PM9/27/09
to Prof. Madad / Type Design III
Response to Majoor's My Type Design Philosophy
I enjoyed reading Majoor's article. For me it is definitely the most
interesting readings/interviews we had so far. Majoor seemed arrogant,
especially when he said "basing a sans serif on another sans serif is
rather cheap...". But probably understandable for someone who's been
designing type for most of his life. However, his in-depth description
of how his typefaces came to be was a helpful and eye-opening story
for someone who's not exactly the biggest fan of typography like me.
Majoor designed three beautiful typefaces: Scala, Telephont, and
Seria, which is my favorite. I also thought that his suggestion of
cutting away the serifs of a seriffed design to make a sans serif was
very interesting because it is very literal, but I'm also not sure if
this is the approach designers should take in designing sans serif
typefaces. However, it makes sense with how Majoor designed Scala and
Scala sans which is according to him, "Two typeface, one form."
Majoor's whole experience of designing type introduced me to a lot. It
made me understand that there is much more to typefaces just being
fonts that we use and take for granted everyday. The process of
designing each typeface and of how each one came to be, like how
Majoor described how each of his typeface developed is the intimate
and interesting side of each typefaces.
Response to Doyald Young
I loved listening to this interview. Everything Doyald Young had to
say was extremely worthwhile to listen to. At the beginning of the
interview, he said "if you improve your drawing skills, you will
become a better designer. Period." I cant agree more. Even though I've
never much of a drawer I understand how important it is to know how
transfer you idea from brain to paper, it is the only way to express
it. And if you can't express what's in your head, your ideas become
useless. Young also said that he "can't think without a pencil." Which
again, makes total sense. When brainstorming for ideas, pencil and
paper are all you need. Listening to him taught me a lot, especially
about observation. He said that we need to learn how to see better. To
pay attention, to observe. As Susan Sontag said, "be alert," is
exactly what I have to keep in mind from now on, to pay attention of
everything, to details. When Young asked Debbie "who was the last
person you saw and what was the color of their eyes." That question
struck me as to how true it is that we only look at things at the
surface. So after listening to Doyald Young, I will keep in mind to
observe and pay attention to things, because ideas you have later on
will spring out of your memory, from the things you observe.
I enjoyed reading Majoor's article. For me it is definitely the most
interesting readings/interviews we had so far. Majoor seemed arrogant,
especially when he said "basing a sans serif on another sans serif is
rather cheap...". But probably understandable for someone who's been
designing type for most of his life. However, his in-depth description
of how his typefaces came to be was a helpful and eye-opening story
for someone who's not exactly the biggest fan of typography like me.
Majoor designed three beautiful typefaces: Scala, Telephont, and
Seria, which is my favorite. I also thought that his suggestion of
cutting away the serifs of a seriffed design to make a sans serif was
very interesting because it is very literal, but I'm also not sure if
this is the approach designers should take in designing sans serif
typefaces. However, it makes sense with how Majoor designed Scala and
Scala sans which is according to him, "Two typeface, one form."
Majoor's whole experience of designing type introduced me to a lot. It
made me understand that there is much more to typefaces just being
fonts that we use and take for granted everyday. The process of
designing each typeface and of how each one came to be, like how
Majoor described how each of his typeface developed is the intimate
and interesting side of each typefaces.
Response to Doyald Young
I loved listening to this interview. Everything Doyald Young had to
say was extremely worthwhile to listen to. At the beginning of the
interview, he said "if you improve your drawing skills, you will
become a better designer. Period." I cant agree more. Even though I've
never much of a drawer I understand how important it is to know how
transfer you idea from brain to paper, it is the only way to express
it. And if you can't express what's in your head, your ideas become
useless. Young also said that he "can't think without a pencil." Which
again, makes total sense. When brainstorming for ideas, pencil and
paper are all you need. Listening to him taught me a lot, especially
about observation. He said that we need to learn how to see better. To
pay attention, to observe. As Susan Sontag said, "be alert," is
exactly what I have to keep in mind from now on, to pay attention of
everything, to details. When Young asked Debbie "who was the last
person you saw and what was the color of their eyes." That question
struck me as to how true it is that we only look at things at the
surface. So after listening to Doyald Young, I will keep in mind to
observe and pay attention to things, because ideas you have later on
will spring out of your memory, from the things you observe.
Patamavadee Nguiakaramahawongse
Sep 27, 2009, 10:22:59 PM9/27/09
to Prof. Madad / Type Design III
I agree with what Emily had to say about drawing small and detailed
thumbnail sketches because most sketches I see in class critiques are
usually big. And although I work small, I tend to 'scribble' more than
'draw' and pay attention to details. So I will try to spend a little
bit more time on my sketches next time.
thumbnail sketches because most sketches I see in class critiques are
usually big. And although I work small, I tend to 'scribble' more than
'draw' and pay attention to details. So I will try to spend a little
bit more time on my sketches next time.
Patamavadee Nguiakaramahawongse
Sep 27, 2009, 10:24:50 PM9/27/09
to Prof. Madad / Type Design III
Also, I am very impressed with Doyald Young and thinking about getting
his book "Dangerous Curves." If only it was $100...
his book "Dangerous Curves." If only it was $100...
Danielle Heard
Sep 27, 2009, 10:53:43 PM9/27/09
to Prof. Madad / Type Design III
Response to My Type Design Philosophy by Martin Majoor
into the history of typography. Who designed them and where did they
come from. I realize now after reading this article how important it
is to look back at other typefaces to combine to create your own. I
notice how this article has a lot to do with what we are practicing in
class. Typography does not always have to begin on the computer you
can start out with little rough sketches and experiment with the
different combinations of typefaces to create you own. This is like
what Martin Majoor was discussing and showing us in his work process.
Though I'm not a huge fan of typography this article helped me to gain
more interest in showing the capabilities I could explore.
Inyoung Choi
Sep 27, 2009, 11:44:05 PM9/27/09
to madad...@googlegroups.com
I am really interesting the Martin Majoor article because this article let me know the history of creation about typeface.
Also, I could know how those typefaces developed. I am impressed that Majoor discussed combining serif and sans serif faces.
Moreover, the negative spaces of each typeface are important to organize its shape and beauty.
Typography does not limited only computer based writing forms but also people can make their own typography furthermore by sketching roughly their typeface can be developed. Though many experiments to try to make typeface, people can get their own typeface successfully.
Inyoung Choi
Sep 27, 2009, 11:56:16 PM9/27/09
to madad...@googlegroups.com
I enjoyed to listien this interview.
Also, I remember the word “If you improve your drawing skills you’ll become a better designer, period.” a quote from Doyald Young.
I can agree with him furthermore I have another opinion. If I draw some design better than now, it is definite advantage to me.
However, if I know to transfer from my idea in my thought to visualized design, it is not a big deal.
Truly, improved drawing skills can help most of desingers but I think that it is more important to show their own design philosophy and identity.
jess
Sep 28, 2009, 12:54:57 AM9/28/09
to Prof. Madad / Type Design III
For some weird reason, I was unable to open up the pdf so I will need
to respond to that tomorrow.
As for the audio of Donald Young I found him to be inspiring and old
fashion. To think that he renders such beautiful curves by hand really
says a lot about his genius, skill, attention and patience level. He
even sad that design is all about paying attention. "True art of
memory is the art of attention." This hits home for me because I am a
bit of a perfectionist and I strongly believe in attention to detail,
even if it is the smallest detail to worry about. He told us to "be
alert!" and encouraged students (others and his own) to really learn
how to look and learn how see things. I agree, opening are eyes to as
many different subjects, objects, designers, etc can only make you as
a designer that much stronger.
to respond to that tomorrow.
As for the audio of Donald Young I found him to be inspiring and old
fashion. To think that he renders such beautiful curves by hand really
says a lot about his genius, skill, attention and patience level. He
even sad that design is all about paying attention. "True art of
memory is the art of attention." This hits home for me because I am a
bit of a perfectionist and I strongly believe in attention to detail,
even if it is the smallest detail to worry about. He told us to "be
alert!" and encouraged students (others and his own) to really learn
how to look and learn how see things. I agree, opening are eyes to as
many different subjects, objects, designers, etc can only make you as
a designer that much stronger.
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