Tipos latinos- tipografía "Articulada"

Hola les comparto la tipografía "ARTICULADA" diseñada por mi alumno de Maestría, Thales Aquino de Brasil, que acaba de ser nominada en Tipos Latinos como parte de La Quinta Bienal de Tipografía Latinomaricana.

Felicidades Thales!! y gracias por compartir tu trabajo.

Click here to download:
_EXHI_articulada_ok.pdf (597 KB)
(download)

 

 

Notas del taller de tipografía orientada a la creación de logos

Les comparto esta entrada de un colega y amigo que les puede ser útil para realizar su marca, visiten su blog muy bueno. http://tzek-design.com/ Así mismo a ver si planemos una visita a la UAM-C de Isaías Loaiza un buen amigo también.

Escrito por Tzek el 18/05/09

Clasificado en: Diseño de InformaciónDiseño GráficoMétodos y proceso de diseño,ProfesiónTertuliastutoriales

Anteriormente había posteado sobre el taller de diseño de tipografía que impartiría Isaías Loaiza. En lo personal fue una experiencia enriquecedora, además de que Isaías transmite esa pasión por la tipografía y su relevancia en el diseño. Aquí dejo algunas notas de lo visto en el taller.

tipo

La primera parte del taller fue sobre apreciación tipográfica y cómo se puedeexplotar la tipografía para darle sabor y carácter a una marca. Entre los ejemplos, vimos el trabajo de Alex Trochut. Bastante impresionante.

trochut_10ways

Después nos tocó hacer caligrafía con "pluma de punta rígida" simulándola con un pedazo de madera.

clase-isaias-loaiza

Como primer paso se necesita una unidad para establecer medidas, la cual estará dada por el lado del pedazo de madera que emplearemos para escribir. Un enfoque consiste en tomar nuestra pluma y hacer ocho marcas verticales en seriedos corresponderán a la altura de nuestros ascendentescuatrocorresponderán a nuestra altura de las x y dos para el tamaño de nuestrosdescendentes.

caligrafia-madera

Algo importante es no mover la inclinación de la punta una vez asentada sobre el papel. Esto provocará modulación (aparición de finos y gruesos). Si movemos la punta conforme vamos trazando, los grosores tenderán a sarlirnos uniformes.

caligrafia-isaiasloaiza

Sobre el diseño de tipos en general, según Isaías, debemos tener en cuenta cuatro variables: el tamaño (con respecto a la líneas guía), las curvas (que tán gruesa o fina resultará), el origen (qué tipo de fuente es) y el espaciado entre letras (fijarse en la contraformas).

variables-trazo-tipos1

Una palabra de prueba es hamburguerfonsiv.

hamburguerfonsiv

Isaías nos comentó un tip para manejar los gruesos en los fustes (las columnas), transversales, curvas, diagonales y fustes para mayúsculas. Si se piensa en términos del ancho de un fuste, entonces el resto son variaciones de esta medida.

grueso-fuste-curvas

También discutimos sobre ligaduras, e Isaías comentó que es un recurso para darle personalidad a un logotipo hecho a la medida, así como los ambigramasy los swooshes.

ligadura-en-logos

Con respecto al trazo, comentó que existe un conjunto de reglas para lograr unas curvas perfectas.

Regla 1. Manejar la cantidad mínima de nodos.

num_nodos

Regla 2. Caracterizar la forma de la letra en términos de sólo tres nodos:curva, tangente y de esquina.

nodos-curvas-tipos

Regla 3. Intentar que los puntos estén en los extremos superior, inferior, derecho e izquierdo.

nodos-extremos

Regla 4. Procurar que las perchas (esto es, los controles de la pendiente de las curvas) sean ortogonales.

perchas-ortogonales

Regla 5. Que las perchas sean simétricas.

perchas-simetricas

Un taller bastante interesante sin duda. Gracias al colega Isaías por su tiempo y entusiasmo. Lo único inconveniente para mi es que me he quedado con ganas de tomar un taller de caligrafía o bien, uno de diseño tipográfico, lo cual estaría super. :)

Una nueva aplicación que te permite dibujar con tipografía

 
via @maribelmg
Canada-based artist, designer and researcher Travis Kirton has come up with a prototype of two interactive text-based applications that allows the user to essentially draw with type. 

Called ‘TypeIs’, it makes use of nonlinear and gestural typesetting to enable users to express text and poems visually by “drawing” poems using words and letters as ink. 

This fun and cool app can import large blocks of text as well as images that can be later traced. 

The user can also experiment with font, size and color, as well as the angling of the pen to achieve different effects. 

Kirton is currently trying to raise funds of almost $23, 000 throughSokap to build a commercially viable and tested verson of TypeIs. 

If successful, both a mobile app and a desktop version will be developed. 

 

 

 

 

 

 

 

[via Sokap


This news message is supported by The Bazaar, a marketplace to buy and sell creative objects. Earn more revenue by selling your prints, downloadable images, or custom products. Set up your store today and stand a chance to have your products featured on DesignTAXI, towards millions of lovers of creative content!

 

Exposición de Tipos en la UAM-Cuajimalpa

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El pasado jueves alumnos de la UAM-Cuajimalpa expusieron al aire libre, modelos de tipografías en 3D creadas con materiales y recursos cotidianos. La exhibición se montó en el patio trasero de la UAM-Cuajimalpa y fue todo un éxito.

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Antes de montar la exposición

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"A" Jesús Rojas, Alejandro Ortíz

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"b" Tao Febel

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"A" Jesús Rojas, Alejandro Ortíz

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"F" Ariadna Rivera

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"G" Jazmin H. Flores

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"I" Rodrigo Chavez

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"J" Thelma Montes de Oca

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"L" Luis Palacios

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"M" GiePeredo

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"ñ" Hector Aguilar

Photo

"P" David Camacho

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"R" Roberto Segura

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"S" Belén Alazañez

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"t" Sergio Hernández

 

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"u" Alejandra Del Prado

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"Y" Ivan Hernández

¿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. 

 

Reseñas "twitteras# del video de Helvetica #UAM-C

Hola hoy vimos el video de Helvetica en la clase de Diseño Tipográfico y estos son algunos de los comentarios que los alumnos hicieron via twitter con los siguientes hastags #UAM-C y #helvetica.

 Noris 

"NO puedes hacer un mejor diseño con una computadora, solo puedes hacerlo mas rápido" Wim Cowell viendo el video de  en la -C


 Noris 

"No confundas algo legible con algo comunicativo" David Carson  -C

HELVETICA FACE

Face
About the Helvetica Face

Helvetica Face is a Livetype format font. This new Helvetica family font changes the “typeface” based on the posting of a new “face”.

While normal fonts which are governed by software rules on how to show the internal form (=data), Helvetica Face doesn't have this internal information on the form. What is does have is external data given in the shape of a image of your face, and how to show that form is the only rule. For that reason, through the given data, the form continues to change without bounds.

About the Livetype

Livetype is a new font format which takes a variety of data and can change the form of it in real time.

Livetype font has an interior database and an interface for entering of new data. Data entered from this interface is accumulated in the database, and it is that accumulated data which changes the form of the typeface in realtime. The changes given to that font are reflected by the same family of fonts from around the world.

Facevetica

 

 

Un mapa tipográfico del mundo | Co.Design

Dos temas que me apasionan las visualizaciones y la tipografía, que lo disfruten!

Chicago designer Nancy McCabe creates gorgeous maps of the world using (almost) nothing but words.

We love globes, but we despise reading them. All those extraneous symbols and endless topographic lines that could easily be confused with countries -- if not for Where in the World Is Carmen San Diego, we'd probably go on thinking Dar es Salaam is an island in Norway.

 

 

The global maps shown here are a promising antidote. Created by Chicago designer Nancy McCabe, they strip down the geography of the world to virtually nothing but words. Focus on a single continent and you can scan its vast array of nations, cities, and seas without the usual surfeit of visual interference. Blind grids shows latitude and longitude, keeping the whole thing from feeling too obscure and unmap-like.

 

 

 

 

That said, the maps get jumbled when you really laser in. The designer included an awful lot of city names -- not just the biggest ones -- and they can be pretty tough to read on close inspection. It took us a good minute to find Dar es Salaam below.

 

 

McCabe could fix that by varying the size of the text to correspond to the size of various geographic sites. That's how the designers of these excellent typographic city maps improved wildly on standard grid maps.

 

 

It's a minor point. And ultimately, it does little to distract from the best feature of McCabe's maps, which is how they look from afar. The text fades to an abstract crush of gray -- a keen reminder of our meager place in the cosmic scheme of things.

 

 

The maps are available in limited edition as black-and-white prints ($150) and watercolors ($175). Buy them on Esty here.

Suzanne LaBarre

Suzanne LaBarre

Suzanne is a senior editor at Co.Design. ... Read more

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