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Strategy + Type Specimen
Joshua H. Davidson
Film Specification 4. Strategy 6. Script 8. Fonts and Rational 10. Early Production 12. 3D anatomy 16. Miniatures 18. Film Titles 20. Film Colours 22. Tools Supporting Documentation 24. Grid Systems 28. Fonts 28. References
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Strategy “Up in Smoke” is a fresh take on the type specimen presented in a moving image format. Through my research it quickly became apparent that most type foundries have preempted the decline of paper. I made a conscious decision to take on the challenge of using digital media to host my type specimen. In my experience I have found video to be the most captivating medium, with the ability to utilise international digital networks, engaging the largest audience in the shortest amount of time - further justified by a consensus that digital audio visual and submersive medias will continue to thrive over paper based alternatives for the most part. After investigating the visual, expressive and tangible displays of type in the Sagmeister & Walsh projects;The Aizone FW12 Campaign and Adobe 24 Hours. I observed the ability to suspend an object and alter one’s perspective of space with dramatic visual effect.This has directly influenced the essential element of my video.The development of these qualities becoming the driving force of a visual aesthetic that was characterised by the“weight and swing” of a tangible, hand made physical character. I chose to showcase the two fonts Metro Nova Pro and Trade Gothic Next Pro as they displayed the most extreme contrast between their capital Q’s. It is one of the most under-represented letters in type, rarely observed on it’s own. I believe that this fact will enhance the comparison of the two typefaces, subtly leaving a more memorable differentiation with the viewer. I really wanted to explore this exotic letter. Metro Nova Pro is the revival of the classic font, Metro, designed in the 20’s and 30’s by William Addison Dwiggins. Trade Gothic Next is a modern revision of Jackson Burke’s original 1948 design. The ‘classic with a modern twist’ heavily informs choices in accompanying music.
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“Take Five”, a classic jazz piece from the late 50’s that has been slightly remixed for a more contemporary audience. The choice of script is inspired by Ernest Hemingway who produced work from the 20’s through to the 50’s, the poem “Chapter Heading” was chosen to metaphorically represent the visuals, moving from light to dark, while also referencing back to the printed book. The hand built type has been retained from the previous era of manual type design. I envisaged that the audience will interact with this type specimen through a video advertising medium either in space before or after a video, possibly played before a related Ted talk or design related videos on Youtube or Vimeo. After being initially engaged they will then be directed to the Monotype website if they wish to follow up their initial intrigue.
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Script I presented a version of Hemingway’s ‘Chapter Heading which I edited in such a way as to increase the readability and flow of the words. For example I presented the reworked text in sections (see comparison below), to disperse the meaning line by line; word by word and transform the abstract subject of the original poem to direct attention to the physical facts portrayed in the film. The final two lines I associate one typeface coming from the dark and the other moving into the light
Chapter Heading For we have thought the larger thoughts And gone the shorter way. And we have danced to devil's tunes, Shivering home to pray; To serve one master in the night, Another in the day. Ernest Hemingway
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For we have // thought the longer thoughts And gone the shorter way. And we have danced // to devil's tunes, Shivering home to pray; Serving one master at night, Another in the day. Video Script
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Typefaces Metro Nova Pro Being a type specimen I tried to exhibit as many weights of the two fonts as was appropriate to the flow and natural dynamic of the film. The decision to exhibit Metro Nova Pro and Trade Gothic Extras Pro was due to the extreme contrast between the capital ‘Q’ used as a specific focal point within the film.
1. Thin
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijlm nopqrstuvqwxyz 1234567890 2. Condensed Black Italic
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijlm nopqrstuvqwxyz 1234567890 3. Extra Black
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijlm nopqrstuvqwxyz 1234567890
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Trade Gothic Next Pro
1. Regular
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijlm nopqrstuvqwxyz 1234567890 2. Italic
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijlm nopqrstuvqwxyz 1234567890 3. Bold
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijlm nopqrstuvqwxyz 1234567890
4. Bold Italic
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijlm nopqrstuvqwxyz 1234567890 5. Heavy
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijlm nopqrstuvqwxyz 1234567890
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Production
1. Began with an over-sized rough cut faces, 9x sides pieces 2.5� wide.
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2. Precise cutting around Trade Gothic Next template, taking shrinkage into account. 3. Slip and score sides onto first Metro Nova face. 4. Final assembly of Metro Nova and Trade Gothic. 5. Smoothing technique used to remove blemishes from surface. 6. Applying base layer glaze, sealing the finished letters, ready for firing. 7. Fired letters, final colour applied.
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3D anatomy
The elements of each large Q were hand built in clay and then constructed into 3D. While producing the large Q’s I was acutely aware that accuracy to the true line of the character was of utmost importance. Although working with clay has limitations, in that the shrinkage margin is unpredictable, I knew that both Q’s would be subject to the same parameters. What I gained from the use of clay, for me, far outweighed the limitations. I wanted a solid but breakable large scale Q’s to create the dramatic detail of the film. Clay was the perfect medium.
Metro Nova Pro, Extra Black: 200pt
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Trade Gothic Next Pro was a lot more tricky to produce accurately due to the greater intricacy and relative complexity of the typeface design. I increased the point size to accommodate the lighter weight of this typeface. This adjustment was required to present the two typefaces as equal characters and to give them equal substance and presence in the film.
Trade Gothic Next LT Pro , Heavy: 235pt
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Miniatures
Metro Nova Pro Extra Black and Trade Gothic Next Pro Heavy typeface were laser cut out of 3mm MDF. Then spray painted as to visually match their large counterparts.
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Typeface miniatures finished laser cut. Trade Gothic drying after having the first layer of paint applied. Focus on ‘HD’ the paint process. Final painted letters.
Riviera Light #123
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Film Titles
All measurements in pixels (px)
489
656 Light
Light
77
80 617
565
Light
674 228
77 801
Light
Extra Black
Bold
381 305
84 689
Light
Light
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489
656
Italic
Heavy
Bold
Regular
291
Bold Italic
91 642
642
376
674 99
228
312 1218
Although not applied to a rigorous grid system all titles have been centre aligned. Bar from in two instances where visual elements did not allow for clear unbroken legibility.
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Colours Primary
PANTONE 3105 C C 57 M 0 Y 14 K 0
R 99 G 208 B 223
Colour match MOLOTOW™ Riviera Light #123
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Secondary
PANTONE Process Black
Warm Gray
C 0 M 0 Y 0 K 100
C 30 M 25 Y 24 K 3
R 0 G 0 B 0
White C 0 M 0 Y 0 K 0
R 0 G 0 B 0
R 186 G 186 B 186
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Tools
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Equipment Sony NEX-FS700 Lasercutter Nikon D5200 Nikon D600 Clay Modelling Tools Falcon Front-Loading Kiln Fresnel Tungsten Lights (3x1000W + 1x650W) V-LCD70MD Portable Camera Monitor GT-800 Fog Machine 800 MOLOTOW™ PREMIUM 400ml Riviera Light #123
Software Adobe After Effects CC Adobe Premier CC Adobe Illustrator CC Adobe Photoshop CC Adobe InDesign CC Adobe Prelude CC
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Grid System 5
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Type Specimen 6
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Document Size: 148 mm x 210 mm 1. 2. 3. 4.
Top Margin: 8 mm Inside Margin: 12 mm Outside Margin: 8 mm Bottom Margin: 8 mm
5. Module Grid: 18.394 mm 6. Gutter: 5mm 7. Baseline Increments: 12 pt
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Grid System 5
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Research Folder 6
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Document Size: 210 mm x 297 mm 1. 2. 3. 4.
Top Margin: 8.467 mm Inside Margin: 15 mm Outside Margin: 10 mm Bottom Margin: 9.133 mm
5. Module Grid: 18.394 mm 6. Gutter: 5mm 7. Baseline Increments: 12 pt
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Typeface
Supporting Documentation
Gill Sans deigned by Eric Gill around the same time as Metro and released in 1928 by Monotype. Designed to function equally well with body and for display. This made it the quintessential choice for all of my supporting documentation.
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Gill Sans
1. Regular
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijlm nopqrstuvqwxyz 1234567890 2. Italic
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijlm nopqrstuvqwxyz 1234567890 3. Light Italic
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijlm nopqrstuvqwxyz 1234567890
4. Bold
ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijlm nopqrstuvqwxyz 1234567890
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References The Aizone FW12 Campaign: https://www.behance.net/gallery/Aizone-FW12/4892847
Adobe 24 Hours.: https://www.behance.net/gallery/Adobe-24-Hours/11141255
Ernest Hemingway: http://www.poemhunter.com/poem/chapter-heading/
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