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¿Puede una tipografía revivir una ciudad?

Can a Font Help a City Make a Comeback?

Around the world, only a few hundred people make a living as fulltime typeface designers. Two of them happen to live in Chattanooga, Tennessee, population 167,000, where they've embarked on an ambitious project to distill the city's artistic and entrepreneurial spirit into a font called Chatype. The goal is to help the city and its businesses forge a distinct and cohesive identity through custom typeface, sending a visual message to the world that Chattanooga—a rapidly growing city in the midst of a creative renaissance—is “more than just your average Southern town.”

Chatype came about when D.J. Trischler, a brand consultant, discovered he'd been sitting next to typeface designer Jeremy Dooley at their local coffee shop. The two became fixated on a question: What if Chattanooga had its own typeface? The idea may sound strange from an American perspective, but it's actually the norm throughout Europe, where even small cities employ unique typefaces to distinguish themselves. In the United States, the only similar attempt was a failed one by academics in the Twin Cities, according to the Chatype team. Yet Trischler and Dooley say this is the first-ever attempt to create custom typeface at the grassroots level, rather than from the demand of a city government.

Joined by recent Chattanooga transplant and typeface designer Robbie de Villiers and Trischler's business partner Jonathan Mansfield, the collaborators met with a local historian to figure out what should inform the design of a Chattanooga-inspired font. They pulled from a diverse set of local visual references including the Cherokee writing system, Coca-Cola's first bottling plant, and, of course, that city's "choo choo," immortalized by the 1940s big band song.

Dooley and de Villiers worked separately at first, but later came together to create a mashup of their work. Dooley calls the final style a "geometric slab serif." The "slabs are inspired by the industrial past. The geometric aspect is to add a sense of futurism," playing to the city's aspirations of becoming the "Silicon Valley of the East Coast" with an economy fueled by technology and startups.

Chatype made its debut at an event hosted by the local creative community and quickly garnered public support. They've raised nearly $7,000 through Kickstarter from more than 100 backers. De Villiers says they now have "hard, firm commitments" from Chattanooga's public sector to work the typeface into local projects (they have yet to reveal which ones). While the designers still have more work to do to finalize the typeface, if all goes according to plan Chattanoogans will soon begin to see Chatype popping up on signage, business cards, emails, and websites published by the city government. “We want to let businesses use the typeface too," says Trischler. "It'd be awesome for startups in town that can’t afford a typeface, to give them a typeface to really set them apart.” In the long term, the team would love to see their typeface across street signs, sewer grades, police cars, and firetrucks.

Known in the 1960s as one of the country's filthiest cities, Chattanooga has managed to clean up its act and its image in recent years, with a redeveloped riverfront and an artist relocation project. But the city's "brand" is out of date and doesn't live up to the creative energy on the ground, according to the team members.  "If you think of a brand as a story, [Chattanooga] has an amazing story," Trischler says. "If you look at the visual brand, it doesn’t back up that story.” Perhaps the sleek new font can help tell that story a little better. 

 

Clasificación de la tipografía del blog de letras

Clasificación

Las tipografías por estilos


Caligráficas

Las tipografías caligráficas o manuscritas son aquellas que emulan la escritura manual, ya sea mediante pinceles, plumas, rotuladores o cualquier otro instrumento de escritura.


Cinceladas

También llamadas glíficas o incisas, son aquellas tipografías evocadoras de las grabadas en la piedra. Pueden tener serifs o simplemente un pequeño aumento del grosor al final de los trazos. Debido a estar cinceladas en la piedra, no suelen tener unos pal


Con serif

Son llamadas tipografías con serif las que llevan remate en los extremos. Tienen su origen en la antigüedad, cuando se tallaban en bloques de piedra. El tallador desarrolló esta técnica para asegurar que los bordes de las letras fueran rectos.


Decorativas

Son aquellas tipografías que comparten el estilo propio de una época o lugar. Debido a sus formas tan características y su personalidad definida y concreta, son apropiadas para dar un carácter histórico o cultural a un diseño.


Góticas

Su aparición se remonta a la Edad Media (siglo XIII) cuando los escribas utilizaban la pluma girada 30º para dibujar las letras. Más tarde serían tomadas por Gutemberg para hacer los primeros tipos móviles. Tuvieron gran éxito en Europa.


Informáticas

Son tipografías aparecidas en el siglo XX gracias al gran avance industrial y responden a la necesidad del hombre de adaptar las letras para comunicarse con las máquinas o ser mostradas en pantallas pixeladas.


Mixtas

Es el resultado de la mezcla de dos o más tipografías o estilos distintos por lo que no se adaptan a ninguna de las demás clasificaciones. Por ejemplo, mezclas entre tipografías sin serif con otras que sí la tienen.


Simbolos

Tipografías creadas no a base de letras sino con gráficos. No sirven por lo tanto para escribir textos sino que sus caracteres contienen ilustraciones, signos o cualquier otro motivo gráfico.


Sin serif

También llamadas de palo seco, estas tipografías se caracterizan por la ausencia de remates en los extremos. Aparecieron en Inglaterra durante la primera mitad del siglo XIX para su uso en impresos comerciales como carteles o etiquetas

Alfabeto en 3D ilustra "La Historia de la Tipografía"

A 3-D Alphabet Illustrates The History Of Typography

 

TO HIGHLIGHT A UNIVERSITY'S PROTOTYPING PROWESS, THE LONDON STUDIO JOHNSON BANKS DESIGNED A 3-D ALPHABET SHOWCASING A CENTURY'S WORTH OF TYPEFACES.

Rapid prototyping has quickly become the darling technology of the design world for its ability to turn digital files into 3-D objects--cheaply and fast. But, says Michael Johnson, very few designers have thought to merge typography and 3-D printing. So when Ravensbourne, a university specializing in digital technology, approached his London-based studio,Johnson Banks, about developing a project to showcase the school’s in-house prototyping skills, Johnson cooked up a 3-D alphabet that would not only display the potential of a burgeoning technology but function as a visual lesson in the history of type.

 

 

The Arkitypo series spans from Akzidenz Grotesk, an early sans serif that Johnson transformed from grotesque to beautiful with a complex fractal structure, to Zig Zag, an Art Deco–style typeface that, in 3-D, becomes an interlocking puzzle. According to Johnson, some of the schemes worked straight away, while others fell apart and needed refining. In the end, the entire alphabet took six months of solid work to complete--a short time frame, considering that the project surveys more than a century of typographic design.

Check out the slides above for more details about each of the historical tidbits whizzing by in the video.

Photos by Andy Morgan

BELINDA LANKS

Belinda Lanks is a senior editor at Co.Design. Previously, she was the managing editor of Metropolis.