Ján Filípek Typeface Design, Letterings & Typography

Transcription

1 Ján Filípek Typeface Design, Letterings & Typography

2 Fonts Letterings & Logos Custom Type work Graphic design & projects Resumé Content

3 Fonts

4 Deva Ideal legible Text typeface with ideal proportions Give me some Honey! Book Italic Ideal proportions Deva Ideal was inspired by women s beauty. It didn t come only from the desire to create a new typeface. It also seeks to materialize beauty in a visual form. Instead of imitating the shapes of the female body or other formal attributes, Deva Ideal is an abstract expression of the women s beauty. The unique character of the typeface is achieved by the use of soft, almost invisibly bent strokes, since one of the priorities of the typeface is not to disturb the eye of the reader with odd design details. Deva Ideal excels in her cold beauty and shows her sex appeal. The soft curves present in Deva Ideal differ from the masculine and technical shapes used in most contemporary typefaces. Deva Ideal has ideal proportions (90 / 60 / 90) and its shapes are essential and simple. Because of this, it is ideal for setting text in all kinds of printed matter: catalogues, books and magazines. The letter forms are wide and open, so text can be set in small sizes and thus space can be saved, while keeping the same degree of readability. The author wishes to acknowledge František Štorm for his unvaluable opinions. Also to Palo Bálik and Peter Biľak for their contributions. I am specially grateful to all the devas (archaic expression for beautiful young girl), who inspired him to design this typeface. Light Wide & Open Book Materiality Regular Light Italic Book Italic Regular Italic Medium Italic Bold Italic Weights Light Italic Book Italic Regular Italic Medium Italic Bold Italic Small Caps Aphrodite Beauty Medium Bold

5 Razom Script Calligraphy, Handwriting & Graffity Typeface Razom Script is a typeface with deep roots in pointed brush calligraphy that takes advantage of current font technology to go beyond handwriting and reach new limits. A successful blend between printed and handwritten letterforms is visible when comparing upper and lowercase. The weight of the typeface evolve in a way that pushes the limits of a script typeface to suggest new uses. Normally, families are developed in weights, not proportions. Also, having several weights in a script family is rather rare. But in Razon Script, as the fonts gain weight, big differences show up in the font outlines: the thin weight looks soft and delicate but as we examine darker variables, they also seem to get broken. The counters of the letters rotate from vertical to horizontal during this process. Fish Chips Thin / 100 Business Times 300 Thin Regular Black Alcoholic Milk Regular / 600 Weights Especially 1000 Crunchy Black / 1300

6 Poleno display typeface with contextual alternates Poleno is a custom typeface originally designed in 2006 for the Slovak folk dance ensemble Poleno, as a part of their corporate identity. Ever since, new weights have been added to complete six variables and two different options for accents. The typeface adds a fresh, bold and non-rational feeling to headlines and titles in books and posters in display sizes where emphasis and detail are equally important. Randomly-generated contextual alternates included in the family contribute to add a distinctive look to words with repeating characters, whenever they occur next to each other. The difference between the Poleno Set and the Poleno Alt Set is in the accented characters. In the first one, accents are merged with the characters and in Alt version, accents are separated from the characters. CONTEXTUALITY Medium QŰÄĶÉ ŰÄĶÉ SemiBold RANDOMLY Bold medium semibold bold extrabold black super Weights DISPLAY ExtraBold BUZZED pöľéňô pöľéňô áĺť Styles Black GOOD Super

7 Dezen A contemporary, mechanical grotesque typeface Dezen is a contemporary, mechanical grotesque typeface. Its letters were first constructed from individual modules and then optically refined to enhance its rhythm. Its tight letter spacing and narrow proportions make the typeface particularly well suited for display sizes and headlines. When you add spacing, font can be used for shorter amount of text, bigger than 12 points. The Dezen type family consists of a wide variety of styles solid and stencils. The Dezen Pro subfamily combines all 4 styles (Solid, Stencil 01, Stencil 02, Stencil 03) in a specific sequence, which creates a pattern (or dezen, in Slovak) of various styles. Pattern typeface Thin Contemporary ExtraLight Thin ExtraLight Light Regular Medium Bold Heavy Black Weights Dezen Solid Stencil 01 Stencil 02 Stencil 03 & Dezen Pro Styles Constructed Light Grotesque Bold Stencils Black

8 komu 2 revivals of socialist typefaces from czechoslovakia Komu is a revival of the style of letters that was frequently used on billboards during the socialist period in the former Czechoslovakia. They were usually uppercase letters made of paper and covered with a layer of aluminum foil. People just had to pick the letters (that included a variety of widths and sizes) out of a box and pin them up on a styrofoam billboard, thus making it easy to announce any event. Komu consists of two styles. Version A is squarish and includes some distinctive characters (K, 5, narrow E, and idiosyncratic diacritics) while version B is rounded with mostly uniform widths (with the exception of E, F and L). The optical disparity of the original lettering style was retained, so that some of the characters look slightly darker than others. Komu is intended to be used on posters, books and other products about Socialism in our region and includes full support for languages based on latin script. styrofoam billboard Komu B force & brutality Komu A socialist typefaces Komu B Czechoslovakia Komu A komu A komu B Weights kalashnikov Komu B revolution Komu A

9 Rukou A GEOMETRIC-SCRIPT TYPEFACE INFLUENCED BY SCHOOLHAND FASHION Rukou originated as a logo for a fashion designer. The idea was to make a fusion of a geometric typeface with the flavour of childish features. Rukou was inspired by school hand-writing models, but adds very specific and interesting features to it. Rather than focusing on readability, the primary goal was to have a unique type texture. This is the reason why lowercase is disconnected. The disconnected letters opened the possibility to create the special shapes for individual letters. The typefaces consist of two different styles inside one font. You can choose to set your titles in uppercase, or lowercase/titlecase. As each style has a slightly different texture, there is the opportunity to combine them in interesting ways. The uppercase can even be set in small paragraphs. Hairline TEXTURES Hairline Thin ExtraLight Light Regular Medium HAIRLINE THIN EXTRALIGHT LIGHT REGULAR MEDIUM Thin DIFFERENT ExtraLight Lowercase Light Special Shapes Weights Regular Individual Letters Medium

10 Anca A playful typeface with a simple construction skeleton Playful and Simple Look Anca Anca typeface started as a comission work for Fest Anca, an international animation festival. They needed something to complement the corporate identity of the festival. Inspiration came from a sketch made by my friend long time ago, which had a tremendous potential. As letters were digitized and the basic alphabet was completed, a very practical and universal typeface resulted. The whole type family has a playful and simple look with rounded stroke endings as well as long ascenders. The construction skeleton uses the minimum number of strokes and as a consequence, some original letter shapes (Q, w, j, &, A, ) were produced. Despite the fact that most letter shapes are based on geometry, some strokes are intentionally irregular, which creates a very natural feeling. Anca is appropriate for setting short paragraphs, headings and big inscriptions. Intentionally irregular Marker 01 + Marker 02 Rounded stroke Anca Basic Anca Anca Marker 01 Anca Marker 02 Anca Marker 03 Anca Ťýpôğŗåpħÿ Weights Animation Marker 01 + Marker 02 + Marker 03 Marker 01 + Marker 02 + Marker 03

11 Preto Sans Legible Sans for modern typesetting with a style Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto subfamilies have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well. Preto Sans The Sans version of Preto forms the basic skeleton of the family, it is decidedly simpler than the other styles (Semi and Serif ). Although you can find many distinctive and unique elements in the details. The most visible elements are the tapered upper part of the letters. The capital letters have uniform widths achieving very different texture than traditional roman proportions. There are two different options for ligatures and alternative characters (J/J, Q/Q, g/g, &/& ) gives more variability for different languages. a a Sans, Semi & Serif a Surprise Black Italic Elements Black Typesettings Bold Relative Families Regular Italic Medium Italic Bold Italic Black Italic Weights Medium Basic Construction Skeleton Regular Italic Readable & Legible & Simple Regular

12 Preto Semi Experimental Semi-serif for text sizes and paragraph setting Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto subfamilies have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well. Preto Semi Preto Semi is an experiment. It is an attempt to create a readable type for text point sizes (other than sans-serif and serif ). Preto Semi is not a Sans with added serifs or Serif with serifs removed. The use of the serifs is redefined and used for other purpose(s). The serifs became the extension of the stroke, they help to solve the spacing problem of sansserif types and they use the primary function of serifs keeping the eye on the baseline and emphasize the horizontal rhythm of the lines of text. Preto Semi is intended for magazines and editorial design, as other members of Preto family. a a a Sans, Semi & Serif Officialy Black Italic Baseline Black Semi-serifs Bold Interpolation Regular Italic Medium Italic Bold Italic Black Italic Weights Medium Redefine serifs function Regular Italic Every breath you take away Regular

13 Preto Serif Energetic serif for contemporary typography and magazine design Preto is an extensive type family, which explores the function of serifs on readability and legibility. Preto consist of three subfamilies: Sans, Semi and Serif. Preto is designed for multilingual typesetting. All of the subfamilies have equal gray value but different texture which can be use to differentiate languages. Preto subfamilies have two text weights and two bold styles (Regular -> Bold, Medium -> Black). Every weight has a companion Italic style as well. Preto Serif The serif version has been designed to work best at small point sizes (around 8, 9 points). You will not achieve calm, boring or invisible look of your text with Preto Serif. Its long, spiky and sharp serifs contribute to give the typeface a distinct and energetic character. It is very suitable for magazines, corporate identity, brochures or other print materials where a typeface for continuous reading is required. The ligatures in Preto Serif are very special. You can set them in different tracking values and spacing will increase/decrease consistently in the ligatures as well. Alternative characters in the font files allow you to change the feeling of the text from typical to more special (J/J, Q/Q, g/g, &/& ). Each font contains a full set of small caps and many alternative characters for complex typesetting. a a a Sans, Semi & Serif Regular Italic Medium Italic Bold Italic Black Italic Weights Masters Black Italic Energetic Black Restaurant Bold Design Magazine Medium Multilingual typeface Regular Italic Take more energy & Power Regular

14 Kontrast Grotesk Sans-serif with a different approach to contrast Kontrast Grotesk is an attemt to create a contrast in the type with a different principle. It was inspired by W. A. Dwiggins and his experiments with the stroke variations. The contrast in this typeface is created by setting the primary and secondary construction strokes of the characters. After some unsuccesful sketches of a serif typeface, the principle was tried on the sans-serif grotesque type. This category is usually with minimal contrast. Adding the contrast created a new and original look of this typeface without compromising the legibility. This font was designed to be legible on screen, what gave the typeface its proportions and wider look. *Typeface is in development Regular Medium SemiBold Bold Black Typewriter Regular Diamonds Medium Swimmin SemiBold Makeup Weights Bold Jingle Black

15 DizajnDesign Library Released Fonts ( ) Deva Ideal Light Deva Ideal Book Deva Ideal Regular Deva Ideal Medium Deva Ideal Bold Deva Ideal Light Italic Deva Ideal Book Italic Deva Ideal Regular Italic Deva Ideal Medium Italic Deva Ideal Bold Italic Poleno Medium Poleno SemiBold Poleno Bold Poleno ExtraBold Poleno Black Poleno Super Poleno Alt Medium Poleno Alt SemiBold Poleno Alt Bold Poleno Alt ExtraBold Poleno Alt Black Poleno Alt Super Razom Script Thin Razom Script Regular Razom Script Black Dezen Solid Thin Dezen Solid ExtraLight Dezen Solid Light Dezen Solid Regular Dezen Solid Medium Dezen Solid Bold Dezen Solid Heavy Dezen Solid Black Dezen Stencil 01 Thin Dezen Stencil 01 ExtraLight Dezen Stencil 01 Light Dezen Stencil 01 Regular Dezen Stencil 01 Medium Dezen Stencil 01 Bold Dezen Stencil 01 Heavy Dezen Stencil 01 Black Dezen Stencil 02 Thin Dezen Stencil 02 ExtraLight Dezen Stencil 02 Light Dezen Stencil 02 Regular Dezen Stencil 02 Medium Dezen Stencil 02 Bold Dezen Stencil 02 Heavy Dezen Stencil 02 Black Komu A Komu B Dezen Stencil 03 Thin Dezen Stencil 03 ExtraLight Dezen Stencil 03 Light Dezen Stencil 03 Regular Dezen Stencil 03 Medium Dezen Stencil 03 Bold Dezen Stencil 03 Heavy Dezen Stencil 03 Black Dezen Pro Thin Dezen Pro ExtraLight Dezen Pro Light Dezen Pro Regular Dezen Pro Medium Dezen Pro Bold Dezen Pro Heavy Dezen Pro Black Rukou Hairline Rukou Thin Rukou ExtraLight Rukou Light Rukou Regular Rukou Medium Anca Anca Marker 01 Anca Marker 02 Anca Marker 03 Preto Sans Regular Preto Sans Medium Preto Sans Bold Preto Sans Black Preto Sans Regular Italic Preto Sans Medium Italic Preto Sans Bold Italic Preto Sans Black Italic Preto Serif Regular Preto Serif Medium Preto Serif Bold Preto Serif Black Preto Serif Regular Italic Preto Serif Medium Italic Preto Serif Bold Italic Preto Serif Black Italic Preto Serif Regular Preto Serif Medium Preto Serif Bold Preto Serif Black Preto Serif Regular Italic Preto Serif Medium Italic Preto Serif Bold Italic Preto Serif Black Italic

16 Letterings & Logos

17 Lettering for festival ticket check and statistics / biletarka.sk

18 Christmas lettering for translator and interpreter / kohoutvbote.cz

19 Lettering for the saxophone group

20 Various letterings

21 Custom letters for Plutoon logo

22 Custom Type work

23 History typeface comleting the character sets of several fonts /

24 Kerning of Laski Slab Italics /

25 Diacritics for Bodoni Egyptian /

26 Complteting character set of LaRepublica Bold Italic /

27 Special set of numbers for the book "Obchodna" revival of street number signs /

28 ABCDEFGHIJKL MNOPQRSTUVWXYZ ĽŠČŤŽÝÁÍÉÚÄĎÔ,.?! ({[ ]}) TRADITIONAL FOLKLORE DANCING ENSEMBLE Poleno Typeface / medium weight Along with a logo and corporate identity was developed a typeface for the Poleno traditional dancing ensemble. Later, the family was extended to six weights and released as one of DesignDesign fonts.

29 ABCDEFGHIJKL MNOPQRSTUVWXYZ ĽŠČŤŽÝÁÍÉÚÄĎÔ,.?! ({[ ]}) Anca Typeface was originally designed for Fest Anca 2011 (International animation festival). Since then, the festival is using the typeface for printed matter and on the web. Anca was later released as one of DesignDesign fonts with additional "layered" styles.

30 Other projects

31 3 years of Type design / handmade poster details

32 Posters for Razom Script typeface / silkscreen

33 Web design for a fashion designer /

34 fashion designer MARKETA MARTISKOVA MARKETA MARTISKOVA LiFE after LiFE 83 fashion designer thank you photography martin dandar ronald stoops BOy kortekaas rostislav likachev petr willert models BirTe CArOliN sebastian pavlína jagrová maja BOzOviC simona mikulová elena egorova eva mrázová monika kindl izy mann MARKETA MARTISKOVA marketa-martiskova.tumblr.com Catalogue and visual identity for a fashion designer / graphic Design ján filípek shoes veronika jakóbková neeting BrONislAvA Brů čková special thanks to walter van BeireNdONCk mother father sister jitka juřenčaková martin hrča

35 Mgr. art. Ján t urzo Jan@turzo.sk TURZO Visual identity for the jevelry inspired by the fence design from socialist era /

36 Lectoring of calligraphy workshops since 2013

37 Typedesign NL/SK / Organising the exhibition of slovak typefaces and typefaces of Type & Media 2009

38 3D chocolates letters workshop / Organisation and lectoring

39 TypoTopo / Lectoring of type design workshop

40 Ján Filípek, M.A. / DizajnDesign filipek@dizajndesign.sk Deva Ideal Fine Arts Academy t[m Poleno Dezen Komu Rukou Anca Preto Sans Preto Serif Razom Script Preto Semi Bio Ján Filípek studied visual communication at Academy of Fine Arts & Design Bratislava and Typeface design at Royal Academy of Art in the Hague, Netherlands. Since 2009 he runs his own font design studio DizajnDesign in Bratislava, Slovakia. So far he released 9 typeface families (Deva Ideal, Dezen, Komu, Rukou, Anca, Preto Sans, Preto Serif, Preto Semi and Razom Script). From time to time he organize workshops with various topics like creating chocolate letters, creating new fonts. For the past year he actively teach calligraphy workshops. Master s degree in Graphic design Visual communication Master & Bachelor, Academy of fine Arts and Design, Bratislava, Slovakia ( ) Master s degree in Typeface design Type & Media international master, KABK, Den Haag, Netherlands (2009) Active as typeface and graphic designer since Specialising in type design, letterings and typography. Custom type development examles / collaboration with other type designers Typotheque History typeface (work on several styles) Retype Laski Slab typeface (kerning of italics) Nick Shinn Bogoni Egyptian typeface (diacritics) Feliciano Type Foundry Mandrax typeface (modifications & repairment) Cesar Puertas La Republica (creating Bold Italics not a finished project yet) Computer skills 1. Active work in Glyphs, Fontlab and other specialised font software (Superpolator and MetricsMachine) 2. Active work in Adobe applications (Indesign, Photoshop, Illustrator) 3. Knowledge of HTML language, basic programming, 3D programs (3D Studio Max), video editing (Adobe Premiere and After Effects), music editing (GarageBand) English Level Fluent english Hobbies Playing on saxophone, sports (passive hockey player, soccer, squash), hiking in the nature and the mountains, films and literature and many more. Specialisation as a typeface designer 1. create a custom typeface for a client (easy display or bigger text projects) 2. make a custom lettering (digital or handmade) and calligraphy 3. consultation of the typeface choice for a particular project 4. anything regarding the font creation, font modification or alteration 5. changing the details of some characters for a particular purpose (usually for logos) 6. add diacritics or special characters (build a logo or special symbol into the font) 7. correct the font software to work normally 8. help to build a professional font library, so there is no need to spend funds on repairing defected or incomplete fonts Specialisation as a typographer 1. custom letterings & logos 2. book design, magazines, newspapers and typesetting 3. some experience with motion typography (after effects) 4. web design and typography (experience with webfonts and css) DizajnDesign is an independent type foundry and graphic design studio located in Bratislava, Slovakia. It is focused on creating high quality typefaces with a contemporary attitude to provide useful yet enjoyable options for graphic designers all over the world. Founded in Development of typefaces