Nico Curtis
Senior Thesis Project, 2010
Gwen Frostic School of Art
Western Michigan University
Specificity of Type
Letterforms should be designed to reflect
their purpose, audience and context.
Concept
The concept for my type design was
to create a serif and a san-serif
face designed to be used seperately
and interchangeably.
Initial Studies
Reduction of Letterform
Study of Weight
Art Deco Type
Hand-drawn sketches
Research Topic Observations
Signage Type
Nissan XTerra
Rowlison Type
Home
Bibliography
Reading Log


Final Design
serif
san-serif
design center randomization
serif and san-serif overlay
individual letters
Week One

Warning: May Contain Non-Design Content
Michael Bierut
79 Short Essays on Design

Charles Peignot: Man Behind the Faces
Steven Heller
Design Observer

Handwritten Typographers
Cameron Adams
www.themaninblue.com

No, There Are Not Enough Typefaces Already
Cyrus Highsmith
Type 101 — The Font Bureau

Dutch Company Punches Holes in font to Save Ink
Toby Sterling
Kalamazoo Gazette, Sunday December 28, 2008 (Associated Press)

Design the Ultimate Wayfinding Typeface
Ralf Herrmann
www.opentype.info

Week Two

The Final Frontier
Cyrus Highsmith
Type 101, The Font Burough

think löçãl
Cyrus Highsmith
Type 101, The Font Burough

New Faces in Washington
Cyrus Highsmith
Type 101, The Font Burough

How We Read
Cyrus Highsmith
Type 101, The Font Burough

Good Type Gone Bad
Monica Racic
Print Magazine, August 2008

Pages 5-28
Bruce Willen and Nolan Strals
Lettering & Type

Week Three

Type Specimen for Platalet
Conor Mangat
Emigre Fonts Type Specimens Volume I

Designing Fairplex
Zuzana Licko
Various Types, Emigre, 2004 Pages 16-28

Introducing: Vendetta
John Downer
Emigre Fifty, Spring 1999

Charles De Gaulle Airport
Adriane Frutiger
Linotype

Various Essays
Debbie Millman
Look Both Ways

The Road to Clarity
Joshua Yaffa
New York Times Magazine

Road Signs of the Times
Phil Patton
New York Times Magazine