Here are a few more projects from this year’s Typographic Research class that I think are worth a look. — RG
Above: Both Debbie Buchan (top) and Katie Rutherford (bottom) attempted to add contrast to the Helvetica in their responses. Debbie’s alterations reminded her of Art Deco faces. Her A–Z set of postcards combines security envelope patterns with the shapes of the letters themselves. Katie took a more analytical approach.
Above, top to bottom: Rohini Rathi explored the many moods of the common clothes hanger. James Dunphy and Yoshi Hozumi created a flashlight with modular pieces in order to easily fulfill the 3x3 ft size requirement. Their material was light. They recorded their alphabet through a ring-bound collection of cyanotypes.
Above, top to bottom: James Dunphy’s typeface Picadilly combines Norman Foster’s iconic 30 St Mary Axe building with that most british of typefaces, Gill Sans. The building, nicknamed the “Gherkin,” or pickle, was the inspiration for the name. Yoshi Hozumi’s typeface Blue is derived from the jazzy geometry of Bernard Tschumi’s Blue Building on the Lower East Side. Peter Murray’s Bucky typeface pays homage to Fuller’s geodesic domes. Both Alison Munn and Debbie Buchan picked SANAA as a source of inspiration. Debbie’s typeface comes in two weights: New Museum Neutral and New Museum Hell Yes. Emilia Naberezny chose the circular forms of the Metropolitan Opera at Lincoln Center as her inspiration, while Katie Rutherford explored the angular planes of Chicago’s John Hancock Tower.
