School of Design • Fall 2024
Fridays: 9–11:50 in MM203/B9
Type Design: Variable (#51389)
Kelsey Elder • Office: MM204a
kelseye@andrew.cmu.edu
Hours: T/R 1–2:30 & by email
kelseye@andrew.cmu.edu
Hours: T/R 1–2:30 & by email
Syllabus
The truth is there is a lot of expression in font files nowadays… The challenge is in getting the possibilities out.
Course DescriptionRelatively speaking, the tools used to craft, produce, and publish typographic forms have never been more plentiful or more accessible. Computation has fused with form-making and generative processes, creating limitless formal, practical, and conceptual potential. Kinetic and dynamic surfaces and screens abound alongside the continued stabilization of variable and color font formats. Unlike experimental font formats of the past, these emerging tools have seen ever-increasing community use, adoption, and advancement. We are in the midst of a (variable) typographic tidal wave. One which will have an unfathomable impact on *how* we communicate and *who* is able to communicate.
This is a special topic studio elective on variable (and color!) fonts; from methodologies to visualize variable design spaces to the practical know-how needed to craft them. We will specifically explore variability in relation to the production of type, and curiously chart the number of ways in which the tools/programs of type production can be used (and mis-used) to animate forms (letters or otherwise) in endlessly generative ways. We will navigate the relationship between the history of code and the history of font production to find ourselves making within the current context of variable, and color, type technologies. Primarily a studio-centric ‘off-road typography’ making and prototyping environment, the course’s critical dialogue will focus on the transformation of language and communication through these variable design processes.
specifics and time commitments
The semester will contain a series of in-class workshops and corresponding projects exposing you to various tools and methodologies uniquely equipped to produce and express (variable) type. We will work in physical, digital, and hybrid ways. You can expect a hands-on introduction to drafting variable (and color!) fonts, OpenType feature writing, and a taste of Python scripting. Following a series of low-stakes / high-experimentation projects, the semester will end with a self-directed project where you will conceptualize, develop, and produce a variable font file for others to experience using a custom tool; i.e., you will make a font file *and* develop a way for others to experience that file. You should expect to spend time outside of the class studying (gaining additional background and practice with) the topics and tools covered by in-class workshops and to support your learning; with the foresight that you will likely choose to focus on one of these tools/ideas — or combine them — for this last project.
This studio will require extra commitment if you want to produce complete variable typefaces for the project(s); a minimum of 6 hours per week will likely be required outside of the studio. To have a well-balanced semester, it will be important to be mindful of your capacities/goals and scale project outcomes (e.g., number of glyphs). I am always open to talking and finding appropriate solutions as you develop your ideas and workflows. Many former students have extended/completed their projects in the year following the course, and I welcome this continued mentorship.
learning objectives
- To obtain an entry-level understanding of digital drafting and the production processes of typeface design/programs.
- An understanding of the historical advances in typographic technologies and of their digital structures (otf, ttf, ufo, etc...).
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The ability to read, write, and troubleshoot in typographic-based coding environments.
- A familiarity with techniques related to multiple-master design spaces, including the ability to draft variable and color fonts using Glyphs 3 .
- Awareness of how to produce glyphic forms in novel ways and how to use variable fonts in dynamic environments.
- To further develop an ability to see and an accompanying vocabulary to assess and critique typographic design.
Structure and course communication
This studio will not use Canvas. Instead, we will use this website, Are.na, and email. This website will be used for most of everything... Bookmark it! The Calendar found on this website shares a broad semester overview. It will be updated before every class to share a detailed plan for that session and a note that outlines the expected work for the following studio. Are.na will be used to collect and share examples, references, readings, and additional materials. Our communication tools will be hybrid, like those of a professional design studio. Do your best to be present and listen actively during in-class announcements/discussions and make it a habit to check your email daily.
office hours
I care about your well-being and am committed to supporting your growth. Please reach out to me if you have any concerns, questions, or problems related to class. I offer office hours for troubleshooting/feedback/etc... both in-person and via Zoom. My office hours are T/R from 1-3pm in MM204a (or B9). To schedule a time (or to request an alternate time) please send me an email. In your message, please offer a few times, a desired location, and a short note about what we are meeting about. Please do not request a meeting during ‘family hours’, like evenings and weekends. If we are meeting to troubleshoot a technical issue please send me the appropriate information and/or files as soon as possible so I have time to familiarize myself and better help during our conversation. In general, all emails and messages should be responded to within 48-hours.
attendance, requirements, expectations
This class follows SoD’s attendance policy; five minutes will be considered late, and if you are over 30 minutes late you will be considered absent. Two absences may cause your final grade to drop a letter, as will missing final reviews. Three absences may earn you a failing grade for the course. It is your responsibility to be on time and prepared. Activities and reviews happen as scheduled. If you don’t show up or are unprepared, they can’t and won’t be rescheduled. Always attend, with or without work. If you stay away, I can’t help. Obligations outside of the studio (like doctor’s appointments, interviews, other school commitments, etc.…) are not an excuse. A schedule overview is provided to help you plan things accordingly. If you do not intend to attend a class, or if you are running late, please let me know. Not doing so is unprofessional and can be very disruptive. When unexpected situations arise which may impact this studio, always reach out to me and your advisor (Jamie) so we can discuss ways to mediate SoD’s attendance policy as well as projects. Life can be messy! Communication is key!
evaluation and grading
Grades in this studio will reflect the necessary effort that leads to successful end artifacts. These criteria are weighed equally and should be evident throughout your conduct and presentation of work during the semester. These should be evidence present in the documentation you submit following each project:
- Process: the overall strength of your methodology, idea generation, exploration, self-evaluation, and the overall rigor to your approach to the exercise and projects.
- Research: the overall quality of your observations, insights, and your application of this data in your process and outcomes.
- Execution & Documentation: the overall quality of your final ideas, craft, polish of outcome, the clarity of your documentation and its organization, and your ability to present and share your work, research, and ideas.
- Participation: this accounts for your engagement, including your contributions, professionalism, and generosity with your peers, the lab space, the class materials, and myself.
There will be opportunities for feedback on your work in progress and final form. If you have any questions, or if at any point you’d like some additional feedback, please find me before/after class or during office hours.
file management and submission of work
At the end of each project, you will be required to submit documentation of your work and written reflection on your process, outcomes, and key takeaways via a Google Form. Begin now the habit of documenting your process, research, curiosities, dead-ends, successes, failures, musings, etc.… and collecting these images, videos, screen recordings, texts, sketches, gifs, etc.… in a dedicated folder. You should make this folder locally and upload a curated selection of images after each project for final submission; e.g. submit the 10-15 images you’d show on your portfolio site.
Managing files appropriately will be critical to your success. I recommend your local folder structure be something like this:
- 📂 CMU
📂 2024-25
📂 Variable
📂 project1-name
📄 readMe.txt (a place to take notes)
📁 documentation (screenshots, hero images, etc....)
📁 in (demo files, handouts, etc… )
📁 links (image assets, texts, etc… )
📁 out (print/production files, instructions, etc…)
📁 source (original .glyphs, .ai, .psd, etc… files)
Syllabus Supplement
Please review the rest of the SOD Syllabus Supplement for details regarding course requirements, attendance, expectations, inclusion and accessibility, and other important School policies.
Acknowledgments
This course has developed over the past four years. Thank you to every student whose taken it. Compared to prior itterations, intended for graduate students, this version of the course focuses more on type design with a basic introduction to computation and scripting. It was designed to utlize the newly renovated press space in the basement of the School of Design at Carnegie Mellon University.
The course and projects network ideas from many individuals and histories. I would like to acknowledge Pedro Neves (and his courses at UIC as well as his Collaborative Lego Type Book Project), Ashley Fuches (and the model of academic/public-good press she helped create at the University of Montana [Courier Press] along with her chromatic type projects), David Shields (and his research on American Wood Type), and DDOTT Type Foundry (and the studio collective’s emphasis on hybrid ways of working and developing novel ways to get ‘type-high’). I also would like to thank Hali Simmons (3D Lab Assistant Manager) for their help cutting down MDF and assistanting me in the shop to prepare class materials.