Type Design Club: Graduazine No.01

Type Design Club

Graduazine

FOREWORD

Type Design Club is a design programme initiated by Aditya Wiraatmaja and Tegamitype Foundry to introduce the practice of typeface design. The programme is intended for anyone who wants to dive into the practice and learn first hand from industry practitioners. The goal of this programme is to equip its participants with adequate type design know-hows which can be carried forward to their respective creative practices.

This year our 12 weeks online program welcomed students from various backgrounds and hosted Sueh Li Tan (Hrftype) from Malaysia for a guest feedback session. Students learnt basic type theory such as history, techniques, tools, researchs and best practices. Through presentation, discussion and rigorous feedback, students were encouraged to be actively involved in the class sessions and implement their learning by designing a functional text typeface. This zine showcases 10 thoughtfully designed text typefaces prepared by the students of Type Design Club 2022.

We'd like to congratulate our students and extend our gratitude to the sponsors, who contributed to the success of this program. We hope this zine can be a source of inspiration for budding designers and fellow type enthusiasts in Indonesia, and we look forward to welcoming everyone in our next programme.

Elysian Serif on §und@y,

STUDENTS

1. BEERSAMA SANS by STEFANUS A.

Beersama Sans sendiri mengacu pada branding yang telah dibangun dari Toko Beersama, toko kelontong yang menjual beer dan memiliki konsep bar tersembunyi di dalamnya. Kata-kata kunci yang dipakai yaitu unique, vintage–folk–fun/ friendly. Humanize caligraphic sans serif menjadi model karna memiliki sifat flared but pointy yang dipadukan dengan sisi humanis dari jenis kontras tarikan garis pena kaligrafi.

Beersama Sans dirancang oleh Stefanus Agusta atau yang akrab disapa Nuse, seorang yang bekerja sebagai art director dari sebuah creative agency di Jogjakarta, Beertiga Creative. Berawal dari brand yang dibangun oleh Beertiga creative yaitu Toko Beersama, yang dirasa memiliki ruang kreasi yang luas sehingga mencoba bereksperimen dengan menciptakan “alternative typeface” untuk Toko Beersama, yaitu Beersama Sans.

@stefanusagusta

2. GUNNER by ANDES VERGIA

Gunner is a regular typeface inspired by Arsenal Football Club’s typography DNA which can be found in their logos, signages, jerseys, matchday programmes, and many media.

Its early sketch is keen to keep the sense of broad nib construction that easily spots in its direction, axis, and terminal. Even though the letters have a sense of human touch, the designs never lose its tough and proud character.

This typeface embraces its primary purpose as typeface text for any digital platform—app, website, social media, matchday programme, etc. It should work well in sizes 8-14 pt.

Gunner was designed by Andes Vergia, a graphic designer, type designer, and researcher. For the past few years, he works in an Intellectual Property (IP) company to research and develop their typography needs, mostly for TV series. At the moment, he works independently at home, growing a wonderful family and building his own type foundry in Tangerang, Indonesia.

+62 812 1280 1157 andesvergia@gmail.com @andesvergia

3. KAINOA by NINDYA FRASELA

Kainoa was designed to be a text type for video subtitle that is pleasant to read in a short time. It has sturdy serif and simplified shape with translation type construction. Kainoa will be used in sizes 20pt to 24pt.

Kainoa was designed by Nindya Frasela, a graphic designer based in Indonesia. She loves making beautiful things like illustration, surface pattern design, and currently interested to learn more about typeface. Feel free to contact her if you have any questions or concerns. nindyafrasel@gmail.com @nindyafras

SMIGHT by ANTHONY HENRY

Smight adalah sans serif text typeface yang dirancang untuk difungsikan pada label produk. Smight awalnya ditujukan untuk memiliki tingkat keterbacaan yang baik dalam ukuran 6 point atau lebih kecil. Typeface ini juga memiliki tingkat kontras yang cukup dengan karakteristik bentuk huruf yang mengadaptasi dari penulisan kaligrafi dan juga proporsi x-height yang dirancang lebih tinggi. Seiring berjalannya waktu kegunaan Smight dapat diperluas selain hanya label pakaian atau produk.

Karena sejatinya Smight adalah sebuah text typeface, maka Smight dapat digunakan pada katalog produk, flyer/ brosur promosi, dan berbagai bentuk publikasi yang dominan menggunakan text typeface. Tidak hanya difungsikan sebagai bodycopy, namun juga sebagai Headline atau sub-headline.

Smight dirancang oleh Anthony Henry Setiawan atau lebih dikenal sebagai Tony. Selaku seseorang yang memiliki ketertarikan dalam banyak hal, Tony memilih untuk memfokuskan diri pada bidang desain grafis. Hal tersebut membuka berbagai gerbang kemungkinan untuk menjelajah lebih luas dan jauh. Selain merintis karir sebagai seorang perancang grafis, Tony juga mencoba menekuni bidang-bidang lainnya yang masih terkait dalam bidang desain, salah satunya yaitu perancangan huruf. Gemar mempelajari banyak hal, Tony berharap dapat menjadi pribadi yang berdaya guna tinggi dan menjadi jembatan atas semua ilmu yang telah ditekuni.

5. MATINA by WAHYU HADI

Matina was intentionally designed for small text purposes, such as magazine, pocket book, novel, and etc. Matina featured moderate contrast, tall x-height, and large counter that make it suitable for body text sized 7pt to 14pt.

Not just for small text, Matina also a perfect fit for long small text. For a full page text, Matina is very pleasing yet clear to read because of the structure and the energy isn’t just legible but also readable. As a name, Matina is assosiated to a soul that clear, honest, and charming.

Matina was designed by Wahyu Hadi, a typeface designer, graphic designer, and a bedroom dweller from Indonesia. He studied design stuff at his bed. whyhadid@gmail.com @hadddid

6. KIGUMI by APRIAN SEMBADA

Kigumi is a humanist typeface inspired by calligraphy. Kigumi is a translation text type designed to be read in small sizes (6pt-12pt). Kigumi was created to design a furniture exhibition catalog. The name Kigumi was inspired by the technique of joining wood in Japanese architectural culture.

Kigumi was designed by Aprian Sembada, an Indonesian graphic design student who love cats and exploring type design. For more information, collaboration and work, you can contact him on: +62 838 6529 1299 apriansembada@gmail.com @apriansembada

7. ELYSIAN by JOANNE MICHELLINA

Elysian is a regular serif typeface used for wedding necessities such as wedding invitations. The name Elysian comes from a Greek word that means beautiful, blissful, or delightful. It relates to a wedding that is a happy day for the bride and groom. The detail of the serif uses a combination of curves and sharp edges to give a feminine yet elegant feel from wedding vibes. The Elysian typeface is quite reliable for small text sizes with a target size of 6-14 pt.

Elysian was designed by Joanne Michellina who is often called Yoan, a fresh graduate from the Department of Visual Communication Design at Universitas Multimedia Nusantara. She likes to learn new things to develop her skills in design. She has been interested in studying type design for a long time and finally achieved it thanks to the Type Design Club 2022. +62-823-7666-2298 joanmichellina@gmail.com @joannemchllna_

8. NOFTRE SANS by EGI AHMAD

Noftre Sans is a sans serif typeface with expansion construction with minimal contrast and a bit of warm and charming. The purpose of this typeface is to be used for online media such as news, and e-commerce, in dekstop and mobile forms. Noftre serves well in small texts at 8 pt to 16 pt and Headlines at 30 pt and above.

Noftre Sans was designed by Egi Ahmad Mufid, an avid freelancer in the field of typography and calligraphy. Sometimes he also working on display fonts that are sale in several marketplaces. He always interested in studying and practicing typeface design. +62-831-7046-8395

egi.mufid10@gmail.com @egimafid

9. CHALDER by UMAR AL FAROUQ

Chalder is a serif type family designed for newspaper bodytext and headline. Chalder was inspired by old newspaper such as Jakalodhang, Derap Mahasiswa, and other Yogyakarta's local newspapers that was published between the 60-70’s. The typeface was intended for small text especially in long text and newspaper descriptions.

Chalder was designed by Umar Al Farouq, a type designer based in Yogyakarta. He had fall in love with typography and lettering since high school and sometimes collecting book about type design. His career has already been improving after joining the Type Design Club this year.

+62-878-0360-7040 umar.af26@gmail.com @umar.af

10. ARDHATA SANS by HANDANU A.

Ardhata Sans is a translational text typeface that takes inspiration from the spirit of freedom in expressing through storytelling, which is the right of every human being.

Every form and little detail from each character tells a story while being carefully constructed to balance the conventional and playful personalities. This combination made Ardhata Sans perform well in any digital and printed platform, ranging from small body texts at 6-12pt and headlines at 28pt and above.

Ardhata Sans was designed by Handanu Ardhata. He is a graphic designer based in Jakarta, focusing on branding and environmental graphic design. Currently, he's studying for a master's degree in graphic design at ArtCenter College of Design, California.

He believes that design is an instrument to convey messages through visual structures to help impact people's lives. That's why he loves learning new things and gaining new life experiences from anyone, anywhere. This mission has become his fuel when designing, hoping his designs will one day significantly influence the broader community.

+62-857-1180-0900 danu.danari@icloud.com @danudanari

TYPEFACES