TABLE OF CON-TENTS

TABLE OF CON-TENTS 5.

9.15. 23.

12.

28.

INTRODUCTION

HISTORY

INTERVIEW WITHDIEGO GUEVARA

DESIGNERS

HANDLETTERING & MODERN GRAPHIC DESIGN

MY WORK

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INTRO-DUCTION

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INTRO-DUCTION

Noun• The action of introducing something.• A formal presentation of one person to another, in which each is told the other’s name.• A thing preliminary to something else, especially an explanatory section at the beginning of a book, report, or speech.

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The objective of this thesis is to demonstrate that hand lettering reaches and affects a broader audience compared to traditional typography due to its humanistic form.

Does the making of posters, books covers, ads, etc. with hand lettering catches more attention than any of those with typography? Would the consumer find a difference between hand lettering and typography? Would the use of hand lettering carry the message better than typography?

HIS-TORY

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HIS-TORY

Noun• The study of past events, particularly in human affair.• The whole series of past events connected with someone or something.• A continuous, typically chronological, record of important or public events or of a particular trend or institution.

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The Roman capital letters marked the beginning of our modern alphabet. This does not mean that Roman capital letters were the beginning of our writing system, but that it was the beginning of hand lettering. The Roman Empire created monumental letterforms for architectural inscriptions celebrating military leaders and their victories; inscriptions at that time were designed for great beauty and permanence.

Hand lettering was the tool for all types of alphabets and writing systems until the discovery of printing. The Chinese invented

printing, and the first form of it was known as relief printing. In relief printing, the spaces around an image on a flat surface are cut away, the remaining raised surface is inked, and a sheet of paper is placed over the surface and rubbed to transfer the inked image to the paper.

By 1450, Johannes Gutenberg perfected typographic printing. However, even though we now have the access to print-ing press technology, we have continued to develop and create letters by hand, letters that are carved in wood or metal, in order to use them in current printing press.

HIS-TORY

Years later, during the industrial revolution, we started to develop print as a form of mass communication. Furthermore, at the same time, it was the beginning of graphic design. The need to release signs, newspapers, posters, etc. in a rapid manner and as mass production left the hand lettering behind. Typography took over, limiting the opportunities for hand lettering. However, many artists continued to practice hand lettering. The legacy of the Industrial Revolution transformed the process of creating and printing graphic communications into a series of specialized steps.

During Twentieth Century, technology and graphic design advanced extraordinarily and this improved graphic communications

and many other areas of human activity.In 1984, Apple computers released their first generation of Macintosh computers leading to a graphic revolution. Susan Kare developed the first screen font for Macintosh computer. This led graphic designers to move from working with scalpels, drawing boards, and typesetting machines to work with computers. This new graphic revolution brought many advances into design, but left hand lettering behind. Computers have now thousands of fonts and many graphic designers prefer to use such fonts that are available instead of creating them.

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The visual art of hand lettering is an antiquated subject in graphic design and in most of the advertisement agencies. Computer fonts have replaced most hand letter artists and calligraphers. However, we do not realize the importance of hand lettering since it can contribute to the development of new ideas in graphic design. This art enables finer control within the type, allowing designers to add small touches, flourishes, ornaments, etc. into the letterforms.

Hand lettering is unique and has its own meaning, something that cannot be done

with traditional typography. Furthermore, the way to express yourself or an idea throughout hand lettering provides an advantage to express ideas more clearly than a stagnant typeface.

Currently, there are a variety of hand lettering artists working in different fields. Most of these artists work as freelancers and have developed excellent projects for well-known companies, magazines, and advertisement agencies. The following is an interview of a prominent designer within the hand-lettering field.

By Ged Palmer & Ginger Monkey Design

INTER- VIEW

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INTER- VIEW

Noun• A meeting of people face to face, especially for consultation.• A conversation between a journalist or radio or television host and a person of public interest, used as the basis of a broadcast or publication.• An oral examination of an applicant for a job, college admission, etc.

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INTERVIEW WITH

How did you get into design? Where are you from, where did you go to school, did any of these influenced you into design/typography? Art is something I have loved since I was a kid. I was always that kid that would spend extra time refining his painting in class or summer camp, draw classmates/girlfriends names or pen tattoos during recess. In 1996, I left Ecuador and moved to Miami where I really discovered and fell in love with graffiti.

During my high school years, I learned everything I could about graffiti and would take on any project just to practice and improve my 'style'. Book bags, store murals, anything. And although everyone (specially teachers) would tell me that my art or my drawings would never get me far in life – in comparison to chemistry?.

I never gave up and I am proud to say that during those years, I learned so much about letters, perspective, colors, hierarchy and many other things that have inspired, helped and immensely influenced my work and me. When I graduated and enrolled in college, my major was Architecture. I grew up amongst architects and loving their work, so architecture was always my plan until I began college and realized that it was extremely slow and boring for me! I was introduced to Graphic Design by my youngest brother (17) who had been designing professionally while in High School - Yup, he is a badass!

Once I learned about Design and saw all the possibilities it offered me, I changed my major and began taking courses, practicing and researching on my free time. I moved to Tampa in 2004 and attended the International Academy of

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Design where I completed my studies and received my Bachelor's Degree. During my college years, I began working at different agencies, studios and a year after I gradu-ated; I opened my own agency/studio with my brother. I can honestly say that the two years as Owner, CEO, Creative Director, Project Manager, Art Director and Accountant opened many great doors and taught me most of what I know today.

How did you become interested in lettering and how did you develop your craft?

I've always been fascinated by letters of any kind (tattoo, graffiti, signs, fonts) and I've been tracing and 'enhancing' them since I was a kid. Eventually, during my college and early professional days, I focused more on 'computer' work and learning about available typefaces, which eventually puta dent on my daily sketching.

My passion for beautiful letters never stopped and although I couldn't use it as much for client work, I kept researching and following letterers I admired to learn from each one of their traces, ligatures and styles. About a year ago, I decided it was time to get back to sketching and practicing and began doing it on a daily basis. And to help myself achieve this, I began posting daily sketches on my Facebook page. This way, all my Facebook friends would be able to see and comment on them. This little step was a huge challenge for me because until then, I kept all my sketches to myself because I never felt they were good enough to show. Being able to share them with family and friends (most of them designers, very honest designers) was a great way to develop and improve my passion for lettering and gave me the courage to share them with the world through different sites like dribble, found,

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and my blog. This courage pushed me to take my love for lettering a step further and earlier this year, I launched TheDailyGlyph.com, a website dedicated to type and lettering that would not only inspire others like me, but that would also motivate beginners and pros to simply share their work.

Between the daily sketches I mostly share on Instagram and TheDailyGlyph.com, I continue to practice and challenge myself, hoping one day I will be able to come close to the many amazingly talented artists that inspire me. Couple of months ago I saw the branding for the band Locos por Juana in a blog, and it's excellent. I’ve listened to this reggae band and I think the logo represents exactly what locos por Juana is. Could you describe the design and thecreative process of this logo? Concept and completion?

First of all, thank you for your kind words. Knowing that people can associate the band with the logo is the best reward one could ask for.

Locos Por Juana is a Miami based band with a unique style, great music and blow-your-mind live performances! I saw them play live about 3 years ago or so and immediately liked their style. I had the pleasure of meeting them a year later and realized that I went to High School with 3 of its members (lead singer, guitarist and ex-member). We talked about music and

design and I was asked if I could help them with their image. Being a fan of their music and a sucker for challenges, I accepted and also realized this would be a fantastic opportunity for me to be creative and experiment with lettering.

After meeting with the band, I decided that lettering and a 'custom' type-based solution was the way I wanted to go. I immediately began sketching different options and arrangements at the studio where the band was recording a new album. Being able to spend all this time with the band and witness their music and process first-hand helped me tremendously. Somehow, there was a 'logo' I visualized, liked and sketched. It was my first sketch and also ended up being the chosen one. Deep down I knew this was the best solution but I kept sketching alternatives just to make sure I was not leaving anything behind. Once I felt confident that there was no bet-ter solution (at least for me) I proceeded to refine the sketch, scan it and detail all curves and glyphs in Illustrator. I used a few typefaces I've always liked as guides and customized my own until everything fit and I was happy with the result.

I met the band again at the studio and presented the new logo, which they loved and decided -on the spot- to adopt as their new official image, stating they felt the style and flair represented each one of them as well as their music. From then on, the logo has toured with them, been used on flyers, posters, album covers, been featured on CNN, iTunes, MTV and has

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gained some attention and love from band fans and Designers, to the point of being featured on branding and logo sites, winning awards and being published as part of Brand New's best logos of 2010. Not to mention the fact that it introduced me to a new field and opened a few great doors. What advice could you give designers who are interested in incorporating lettering into their design?

Simple. Always go for it! As with everything in life, specially design, do some research and learn about type and the beautiful art of lettering. Study different styles and kinds of lettering until you find the one(s) you connect with. Once you identify with a "style", practice a lot. The more you play and experiment with letters, the better your work will be. Once you are comfortable, share it with friends or colleagues and ask for feedback, this always helps!

What tools do you use to create letters,what is your process?

To be honest, there is no process at all. And I think that's why I love and enjoy playing with letters so much! My daily work involves many large corporations and clients, and these projects often require planning and a meticulous process. So, being able to drop everything, disconnect from the computer and go 'back to basics' with a pencil, pen, marker (whatever I can find) and my sketchbook is… therapeutic.

What’s your favorite project or brand you have worked on and why?

I LOVE what I do, and consider myself blessed for being able to wake up every day and get paid to have fun! I see so many people on my drive to work or office building who simply look miserable and who are constantly saying how much they hate their jobs. This makes me value what I do and every project I work on even more. I love and sweat every single project I work on, and thinking about a favorite one is like picking a favorite son… I've been fortunate to work on a wide variety of projects ranging from corporate branding or identities to multimedia, web and television and they are all my favorites.

Who are your favorite hand lettering designers?

Whoa! There are sooooo many, it would be impossible for me to list them all (and I'm always afraid I might forget and leave one out by mistake) but let me attempt to list a few who in one way or another, have inspired and influenced me and my work. The amazing Doyald Young, Dana Tanamachi, James T. Edmondson, Andrei Robu, David McLeod, Darren Booth, Erik Marinovich, Jeff Rogers, Jon Contino, Simon Ålander, Marian Bantjes, Steve Powers, Ged Palmer, Calligraphuck, Dan Cassaro, Mary Kate McDevitt, Dado Queiroz, Louise Fili, Sara Blake, Andrey Martynov, Jake Weidmann and many, many more…

THANKS TO DIEGOGUEVARA

DESIGN- ERS

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DESIGN- ERS

Noun• A person who plans the form, look, or workings of something before its being made or built, typically by drawing it in detail.

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DESIGNERS &THEIR WORK

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Louis Poulsen Home

This is a brochure designed for the Danish lighting company: Louis Poulsen. The brochure presents fixtures for residential lighting and it is intended to target a broader audience in its design and style.

The word HOME was designed and produced by hand and was influenced by the font Engravers MT. In recreating the font and adding particular and unique details, the word dissociated from the Engravers MT font making this brochure exclusive, original, and customized.

Bombs Away

This design was created as an anti-war campaign. It focuses in bringing awareness to people and promoting peace and tolerance throughout the world.

My Logo

The logo represents the initials of my name and last name. I initially designed it by hand and then based on that design I produced it on illustrator. I used the same letter for the d and p to bring a stable and steady look on the design. I chose to do this because I would like the logo to represent a simple but original style.