Because we like to mix things up, we have some great new offerings for 2018, in the form of two 2-week residencies that can be taken singly or together. AND we’re thrilled to welcome Victoria Rushton and Elizabeth Carey Smith to the faculty! This summer you can stroll around the city sketching type with Dan Rhatigan and Tobias Frere-Jones, or use the 3D printers in SVA’s Visible Futures Lab to take your typeface design into the real world. We’ll journey to Lite Brite Neon in Brooklyn to see what it takes to sculpt molten glass tubes into letterforms (hint: patience plus practice, practice, practice) and attend a spoken word performance at the Moth as inspiration for creating a typographic poster. Priority application deadline is April 1. See you in July!
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Seems hard to believe, but this year’s class of summer residency TypeLab students has already reached the halfway point of its typographic adventure in New York City. Hailing from Denmark, Sweden, Massachusetts, Michigan, and Brooklyn, the group draws upon an eclectic set of influences and design references, including 1940’s Norwegian newspaper headline type, the writing of J.R.R.Tolkien, 19th century handpainted display typefaces, and beloved children’s book character Miffy, a highly symmetrical bunny.
Week one featured a lecture by Steven Heller, design legend and co-chair of SVA’s Designer as Author MFA program. The class experimented with hand-drawing preliminary versions of their typefaces with instructor Yomar Augusto, and ended the week with a hands-on letterpress workshop at the Center for Book Arts.
The second week began the process of moving the preliminary alphabets into the digital realm, drawing letterforms with font editing programs. Under the watchful eye of James Montalbano, the class grappled with structure, logical design relationships among letters, and those all-important sidebearings.
Take a look at a cool Yale senior thesis project dreamed up by Kai Takahashi, a participant in the very first TypeLab summer program. Punctumotion is a proposal for a novel form of digital punctuation that is cross-typeface, cross-platform and infinite in variation. “The idea emerged from writing emails. I always struggled, not so much with word choice, but with punctuation choice — specifically, whether to use a period or an exclamation point to convey my default state of pleasant but not hyper,” says the designer. “A period comes off as cold. An exclamation point conveys a shout! So I created Punctumotion as a subtle yet vivid way to communicate our feelings, reactions and tone.”
Kai Takahashi is a visual product designer at Zume Pizza in Mountain View, CA. He graduated from Yale in 2016, and has previously worked at Digital Surgeons, The Players’ Tribune, and SME, Inc.