Pink words are stacked over each other on a green background.

Crash Course in Type Design

<p>Libbie Bischoff (she/her) is a California-based type designer. After graduating Type West in 2020, she opened her own type foundry, <a href="http://typedunord.com/">Type Du Nord</a>. She started by making 52 fonts in one year and is now focusing on building her type library.</p>


Image of a woman with long hair on a white background.

Libbie Bischoff

Type Designer

<p>Type design is a tricky thing to learn on your own and a 10-week or year-long program is a big commitment — test the typographic waters in this condensed, 5-week type design class! We will learn the fundamentals of type design while cheering each other on in a virtual classroom. You will learn how to create a design concept and translate it into a functional typeface in an uppercase A-Z character set while keeping spacing and usability in mind.</p>
<p>Whether you’re a graphic designer or a beginner type designer, you will learn the ins and outs of the type design process with like-minded comrades. At the end of this course, you will have the skills to continue your type design practice or feel prepared for a longer type design program. You will have enhanced your typographic vocab and gained an intimate understanding of what it takes to be a type designer. Let’s draw letters together!</p>
<h3>Audience and Format</h3>
<p>This class is open to beginner through intermediate type design students. We will cover the process of making a font from ideation to creating your very own type specimen. It is meant for students who would like a rigorous yet supportive environment for learning about type design.</p>
<h3>Scholarship Information</h3>
<p>Scholarship seats are available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>
<p>This class is taught online via Zoom. With an accompanying Slack channel, students will have a communal space for sharing work and troubleshooting. Each week, students will be expected to watch pre-recorded lectures and spend a few hours outside of class working on their typeface.</p>
<h3>Goals</h3>
<ul>
<li>Create an original or revival typeface</li>
<li>Have an understanding of the type design process</li>
<li>Create a supportive community of type enthusiasts</li>
</ul>
<h3>Learning Outcomes</h3>
<ul>
<li>Learn the ins &#x26; outs of the Glyphs App</li>
<li>Learn how to design Latin caps (A-Z)</li>
<li>Develop an eye for spacing</li>
<li>Gain proofing skills &#x26; a typographic vocabulary</li>
<li>Create a small type specimen that celebrates your project</li>
</ul>
<h3>Material Requirements</h3>
<ul>
<li>Reliable Internet connection</li>
<li>Mac computer (laptop or desktop)</li>
<li>Glyphs App (a free temporary license will be issued to each student)</li>
<li>A free Zoom Account</li>
<li>A free Slack account (an invitation to a class group will be sent to each participant)</li>
<li>A license to a professional Graphic Design Software such as Adobe Creative Suite or Affinity Designer to test the fonts.</li>
<li>A black chisel tip marker (Sharpie or preferred black ink marker)</li>
<li>Pentel Presto Jumbo Correction Pen or white-out</li>
<li>A drawing pad or paper (8.5” x 11” or larger)</li>
</ul>
<h3>Software Requirements</h3>
<p>The instructor will be working, demoing, and providing tutorials using Glyphs App (Mac only). A temporary Glyphs App license will be provided to all participants for the duration of the class. However, you’re welcome to use Fontlab (Windows and Mac) or Robofont (Mac only) as long as you’re comfortable with troubleshooting technical issues by referring to your font editor’s manual or forum.</p>
<h3>Scholarship Information</h3>
<p>A <a href="https://www.typeelectives.com/scholarships">scholarship</a> seat is available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>


Words "Generative Typography" getting dispersed and pixellated, white type on black background

Generative Typography Spring 2023

<p><a href="https://lynneyun.com">Lynne Yun</a> (she/her) is a Korean typeface designer and educator fluidly connecting the seams between calligraphy, type design, and generative typography. She is an alumna of the Type@Cooper Extended program, School for Poetic Computation, and ITP at New York University. She has previously taught for institutions such as Type@Cooper, Parsons School of Design, and The Letterform Archive. She currently runs <a href="https://spacetypeco.com">Space Type</a>, an NYC studio operating at the intersection of type and technology.</p>


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Profile Image - Lynne Yun

Lynne Yun

Type Designer, Educator & Technologist

<p><a href="https://kyeh.me">Kevin</a> (he/him) is a partner at <a href="https://spacetypeco.com">Space Type</a>, a Brooklyn based type studio that operates at the intersection of type, design, and technology. Kevin has a background in computer vision, graphics and robotic learning, and holds an MS in computer science and film studies from the University of Texas at Austin. He also works at Nava PBC, where he partners with government agencies to build simple and reliable public digital services.</p>


A man of southeast-asian descent smiles in front of blue background.

Profile Image - Kevin Yeh

Kevin Yeh

Developer & Technologist

<p>Since the invention of written language, typography as a practice has existed and adapted to the many forms of human expression — from being cast in metal to being manipulated within photographic mediums. Recently, the ability to engage in visual coding through the browser has become easier than ever, opening the doors for creatives to generate and digitally manipulate font structures and layouts to create new and exciting compositions.</p>
<p>This class will focus on generative design as it pertains to typography and letterforms. We will explore the building blocks of algorithmic art and apply those tools to manipulate digital type, which is, at its core, a series of data points. In addition to visual coding, the class will engage in critical discussions about the computational nature of creation. How does this differ from historical methods of typographic exploration, and what can we take from the past to build upon it? How do we create generative designs that are meaningful as opposed to frivolous? Could we express care and thoughtfulness through interactive art and design?</p>
<p>P5.js will be the main programming library for the course, and students who are new to programming are welcome. Techniques covered in this course will include building visual compositions with code, manipulating pixel and vector data, and implementing them in real-time applications, such as computer-assisted handwriting and animation.</p>
<h3>Audience and Format</h3>
<p>This course will assume no prior experience with programming or Javascript for the students, and will cover all fundamentals during the course. That being said, students with no prior experience should expect to allot extra time reviewing the course material after each class in order to solidify their understanding of new concepts.</p>
<p>The course is structured in a hybrid live/self-study format. In the first section of the workshop, weekly live and recorded lectures will tie together typographic and programmatic concepts, and browser-based interactive projects will be assigned with specific goals.</p>
<p>In-class time will be devoted to reviewing projects, building programmatic intuition, and discussing readings and concepts related to generative typography. Outside of class, all students should expect to spend a minimum of 3 hours per week completing readings, assignments, and viewing the recorded coding lecture.</p>
<p>In the final weeks of the workshop, you will apply generative form-making tools as part of your design process in a self-selected medium, such as an interactive website, animated sequence, or dynamic branding identity. We'll hold 1:1 critique sessions to support your creative and technical process.</p>
<p>Throughout the course, we'll be available during class and on slack for all your questions, concerns, and ideas — along with your peers.</p>
<h3>Goals</h3>
<ul>
<li>Gaining a perspective on the inner workings of computational tools and processes</li>
<li>fearlessness to engage and create generative art on the web</li>
<li>Critical reasoning as it applies to computational making</li>
</ul>
<h3>Learning Outcomes</h3>
<ul>
<li>Comfort in Javascript programming</li>
<li>Confidence in the P5.js environment</li>
<li>Familiarity with technological advances in typography</li>
<li>An understanding of digital structures for various data types (images, font files, etc)</li>
</ul>
<h3>Material Requirements</h3>
<ul>
<li>A reliable internet connection</li>
<li>A free Zoom Account</li>
<li>A free Slack account (an invitation to a class group will be sent to each participant)</li>
<li>Access to a computer with a modern browser (e.g. Chrome, Firefox)</li>
<li>A free account on the <a href="https://editor.p5js.org/">p5.js web editor</a></li>
</ul>
<h3>Scholarship Information</h3>
<p>Scholarship seats are available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>


Intro to Generative Typography with p5.js

Large chunky words spelling out "TYPE" getting dithered and pixellated, white type on black background

Generative Typography SP23 Square

<p>Lauren Williams (she/her) is a Detroit-based designer, researcher, and educator. She works with visual and interactive media to understand, critique, and reimagine the ways social and economic systems distribute and exercise power.</p>
<p>Through her creative practice and research, she often investigates Blackness, identity, bodiliness, and social fictions to examine how racism is felt, embodied, and embedded into institutions. Themes of trust and the transformations enabled by social engagement shape both her approaches—collaboration, facilitation, collective production—and the questions she examines surrounding power and oppression, social relations, and social movements. Lauren has taught design + interdisciplinary studios and intensives at the College for Creative Studies, ArtCenter College of Design, CalArts and elsewhere. In the past, she has managed programs and policy aimed at cultivating economic justice at Prosperity Now in DC. Going forward, she's finding ways to align her capacities with revolutionary movements that build toward different socioeconomic systems entirely and usher in new dimensions of power and freedom altogether.</p>
<p>Her work can be found at <a href="http://www.williamslaurenm.com/">williamslaurenm.com</a>.</p>


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Lauren Williams

Designer / Researcher

<p><a href="https://www.arts.ac.uk/colleges/central-saint-martins/people/rathna-ramanathan-head-of-college">Rathna Ramanathan</a> (she/they) is a typographer, practice design researcher and academic known for her expertise in intercultural communication and alternative publishing practices. She is Head of Central Saint Martins, Pro-Vice Chancellor, University of the Arts London and a Reader in Intercultural Communication. For the past thirty years, Rathna has led research-driven, intercultural, multi-platform graphic communication design projects primarily in the Global South, all fuelled by a love for, and life-long interest in typography and languages, and a belief in communication as a fundamental human right.</p>


Rathna Ramanathan

Graphic Design, Educator and Researcher

<p>Silas Munro (he/they) is a designer, artist, writer, and curator. He is the founder of the LGBTQ+ and minority-owned graphic design studio <a href="https://www.polymode.studio/">Polymode</a> based in Los Angeles and Raleigh that works with clients across cultural spheres. Commissions and collaborations include: The New York Times Magazine, MIT Press, Nike, Airbnb, the Brooklyn Museum, Storefront for Art and Architecture, the Art Institute of Chicago, Dia Art Foundation, and the Cooper Hewitt Smithsonian Design Museum. Munro is the curator and author of Strikethrough: Typographic Messages of Protest which opened at Letterform Archive in 2022–2023. He was a contributor to W. E. B. Du Bois’s Data Portraits: Visualizing Black America and co-authored the first BIPOC-centered design history course, Black Design in America: African Americans and the African Diaspora in GraphicDesign 19–21st Century. Munro is faculty co-chair for the MFA Program in graphic design at the Vermont College of Fine Arts.</p>


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Silas Munro

Artist, Poet, Graphic Designer, Writer, & Educator

The words "Provoking Type" repeated 5 times with differing colors on dark magenta background

Provoking Type

<p>Schessa Garbutt (they/them) is a Belizean-American creative polymath and founder of <a href="https://www.firebrand.house/">Firebrand Creative</a> House based in Inglewood, CA. Their design practice focuses on brand identity and UI/UX design for social impact initiatives and mission-driven organizations. Garbutt is also an essayist (recently in The Black Experience in Design anthology) and lecturer, speaking on diversifying design history and co-design practices at universities and organizations such as IDEO, SF Design Week, MICA, Where are the Black Designers, and Adobe's Wireframe podcast. Garbutt holds a B.A. in Design from the University of Southern California, and a certificate in Type Design from Type West.</p>


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Schessa Garbutt

Designer & Afrofuturist

<p>Many of us experienced a design education that focused on eurocentric history and theory while de-centering BIPOC (Black, Indigenous, and People of Color) perspectives on type, design, information systems, and ways of knowing. Often, students whose histories and experiences are ignored or erased miss out on the opportunity to learn about the creative work of their predecessors, and many aren’t given the space to question the values behind the aesthetics of classically-taught type history (e.g. Gutenburg, Bauhaus, Modernism). As professionals, many of us are left wanting a more diverse, intersectional view to ground our creative practices as we grow in skill and perspective in a rapidly changing global type &#x26; design landscape.</p>
<p>There is a diverse world of type tools, systems, theories, and histories worth exploring for creatives who are ready to deepen their practices and update their personal canons.</p>
<p>Provoking Type is a 5-week course that invites participants to take a critical &#x26; decolonial lens to type and its role in history, culture, technology, power structures, and identity to explore and reimagine the narratives, contexts, and futures of type. Instructor Schessa Garbutt and guest lecturers offer their critical perspectives on type as a tool and medium, centering BIPOC and othered histories, research methods, and intellectual mirrors while examining classic eurocentric, patriarchal, and capitalist views of the craft.</p>
<p>Plainly, this class is for creative folks with ideas about how they want to get into good trouble with type, and use their design powers to affect positive change in the world.</p>
<h3>Audience and Format</h3>
<p>This course will be taught via Zoom and Slack, meeting weekly online. This class is for creatives looking to expand their personal canons around type and design while challenging internalized notions of what type is and what their design practice can be. Creatives of all backgrounds and experience levels are encouraged to apply. Each week, students will watch or read a text related to the upcoming lecture. Throughout the course, students are encouraged to actively contribute to class conversations and knowledge building.</p>
<h3>Goals</h3>
<ul>
<li>Collectively create a critical thinking framework for discourse around type.</li>
<li>Strengthen our ability to articulate and elaborate on the contemporary challenges/desires/ideas we have about type and design.</li>
<li>Clarify and embody our personal praxes (reflection, theory, action) to guide our future creative work.</li>
<li>Co-create a learning environment that de-centers eurocentric perspectives &#x26; pedagogy.</li>
</ul>
<h3>Learning Outcomes</h3>
<ul>
<li>Learn frameworks for thinking critically in relation to type and the design field at large.</li>
<li>Learn how to understand our own positionalities and question our biases as designers &#x26; non-neutral actors in the world.</li>
<li>Build skills in writing about, articulating, and pursuing a decolonial type &#x26; design practice.</li>
<li>Deepen knowledge in type &#x26; design histories of the global majority.</li>
</ul>
<h3>Material Requirements</h3>
<ul>
<li>A reliable internet connection</li>
<li>A device capable of Zoom and Slack apps</li>
<li>A free Zoom Account</li>
<li>A free Slack account (an invitation to a class group will be sent to each participant)</li>
</ul>
<h3>Scholarship Information</h3>
<p>Scholarship seats are available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>


"Provoking Type" title repeated on 4 sides of a square on a magenta background

The words "Display Type" are rendered on white letters over a black background.

Foundations of Display Type Design

<p><a href="https://juankafka.com">Juan Villanueva</a> (he/him) is a Peruvian typeface designer and educator in New York City. Juan is a Sr. Type Designer at Monotype. A graduate of the Type@Cooper Extended program, he has taught for institutions such as Type@Cooper, The City College of New York, and The Letterform Archive. Juan is also the founder of <a href="https://typecritcrew.com">Type Crit Crew</a>, an initiative to make type design education more accessible and inclusive.</p>


Portrait of a man wearing glasses and a black t-shirt

JuanVillanueva-Headshot

Juan Villanueva

Type Designer & Educator

<p>Display typefaces are statements of love towards the craft of type design. They offer opportunities to push the boundaries of legibility, creativity, and self-expression while inviting us to engage in conversation with language, culture, and form. Designing display typefaces is a useful skill to develop a deep understanding of the tools and processes for making type as well as finding one’s unique voice in the field.</p>
<p>In this ten-week workshop, we’ll learn the foundations for designing display typefaces that speak for themselves. Through an emphasis on sketching methods and design strategies, you’ll learn how to make letterforms and produce fonts that stand out. Participants will do research to develop their own design brief, practice rigorously through weekly drawing exercises, and hone their personal discipline and craftsmanship.</p>
<p>This class will cover the basics of drawing letterforms by hand and digitally using Bézier curves in order to design coherent systems and develop your own typographic language. Whether you’re a graphic designer or a budding type designer, this class will help you step up your type game, get out of your comfort zone, or level up before a masters program. Let’s have some serious fun and put your talents on display.</p>
<h3>Audience and Format</h3>
<p>This class will be taught online via Zoom and Slack. There will be class participation and homework each week to enable students to challenge themselves and develop practical and critical skills. The ideal student can range from someone with a basic understanding of Bézier curves (e.g. the pen tool in Adobe Illustrator) who is making a font for the first time to someone with years of experience and mastery of the tools who wants to use this as an opportunity to continue developing their practice and join a community of learners. The most important qualities for success in this class are to be curious, have an open mind, and a willingness to iterate and challenge yourself.</p>
<h3>Goals</h3>
<ul>
<li>Discover your own process and develop an efficient workflow</li>
<li>Develop your eye to judge consistency in contrast, color, spacing, and rhythm</li>
<li>Develop an understanding of the relationship between calligraphy, lettering, and type</li>
<li>Join a community of people passionate about letterforms</li>
</ul>
<h3>Learning Outcomes</h3>
<ul>
<li>Learn digital drafting skills</li>
<li>Learn how to use Glyphs App, a digital font editor</li>
<li>Learn the basics of type design</li>
<li>Learn how to design and space a basic Latin character set</li>
<li>Learn how to proof and evaluate a typeface</li>
<li>Learn the basics of OpenType and Language support</li>
<li>Learn to draw for interpolation and produce variable fonts</li>
</ul>
<h3>Material Requirements</h3>
<ul>
<li>Mac computer (laptop or desktop)</li>
<li>Reliable Internet connection</li>
<li>A free Zoom account</li>
<li>A free Slack account (an invitation to a class group will be sent to each participant)</li>
<li>Glyphs App, a free temporary educational license will be issued to each student enrolled</li>
<li>A license to a professional Graphic Design Software such as Adobe Creative Suite or Affinity Designer to test the fonts.</li>
<li>Speedball Calligraphy Pen with C1 nibs or Pilot Parallel Pen, 6.0 mm + refills (black ink)</li>
<li>Speedball Oblique Pen Holder</li>
<li>Gillott 303 Pointed Nib or similar</li>
<li>Canson Pro-Layout Marker Paper Pad, 9" × 12" 50-Sheet Pad or similar</li>
<li>Bee Paper White Sketch and Trace Roll, 12-I nch by 20-Yards or similar kind of tracing paper roll or pad</li>
<li>Non-waterproof ink (black, walnut, or another dark color)</li>
<li>Shallow dish or bowl for ink</li>
<li>Eraser, white-out, scissors, and tape (artist tape or removable tape recommended)</li>
<li>Any kind of sketchbook analog or digital to take notes and jot down ideas</li>
<li>Access to a B&#x26;W laser printer is recommended for proofing homework and class exercises</li>
</ul>
<h3>Software Requirements</h3>
<p>The instructor will be working, demoing, and providing tutorials using Glyphs App (Mac only). A temporary Glyphs App license will be provided to all participants for the duration of the class. However, you’re welcome to use Fontlab (Windows and Mac) or Robofont (Mac only) as long as you’re comfortable with troubleshooting technical issues by referring to your font editor’s manual or forum.</p>
<h3>Scholarship Information</h3>
<p>Scholarship seats are available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>


<p>Fabiola Mejía (she/her) is an independent type designer from Costa Rica. In 2017, she completed the Type@Cooper Condensed Program in NYC, and in 2019, she received an MA in Typeface Design from TypeMedia, in The Netherlands. Besides working remotely with Dinamo Typefaces, she recently founded <a href="https://supercontinente.com">SUPERCONTINENTE</a>, a platform dedicated to her type design practice and collaborative graphic explorations.</p>


Fabiola Mejía

A purple banner with magenta translucent web page icons with the title "websites beyond the page"

Websites Beyond the Page Spring 2023 Image

<p><a href="https://www.mdholakia.com/">Meghna Dholakia</a> (she/her) is a designer and artist fascinated by individual, collective, and geologic narratives of transformation. She is interested in how communities come together, commune, and collapse.  Currently, she is a designer at The New York Times helping people think more clearly about how to work together.</p>


Image of a woman with long hair behind orange flowers.

Meghna Dholakia

Designer & Artist

<p><a href="https://www.instagram.com/theilonabrand/">Ilona</a> (they/them) is an artist, extrovert, teacher and technologist who sees their work as love notes to themself, the world, and others. They work across mediums using music, poetry, code, drawing, and their jewish practice as tools of expression both publicly and privately. These days they are particularly interested in trans narratives of liberation, judaism as a site of ritual, visibility on and offline, and how we present ourselves and our work to the world.</p>


Portrait of a person with short hair wearing glasses and a black and white striped t-shirt.

Ilona Brand

Artist & Technologist

<p>In this class, you will learn to use websites as a medium for creative expression. Beyond the three column format and cafe chic, what is the web capable of? Let’s lean into the personal, the playful, and the poetic. We’ll explore questions like: how might a website change with the seasons? What can the web do that print can’t? What if a website had to forget? How do we build a website to last for an age?</p>
<p>To study those questions, this course introduces students to the basics of web development, including HTML, CSS, and javascript.</p>
<h3>Audience and Format</h3>
<p><strong>Who is this class for?</strong></p>
<ul>
<li>You’re curious about the web, but not sure where to start</li>
<li>You like to make things and you’re looking for an new creative outlet</li>
<li>You’re interested in taking a critical lens towards technology</li>
</ul>
<p><strong>Expectations:</strong></p>
<ul>
<li>You’re willing to give things a try</li>
<li>You show up with respect for your fellow learners and students</li>
<li>You can make time for 1 hour or more outside of class for hands-on website building</li>
<li>You’re up for 30 minutes of reading outside class</li>
</ul>
<h3>Goals</h3>
<ul>
<li>Explore websites as a creative medium</li>
<li>Demystify basic web skills</li>
<li>Take a critical approach to web technologies</li>
</ul>
<h3>Learning Outcomes</h3>
<ul>
<li>You will have built and launched multiple websites using HTML &#x26; CSS</li>
<li>You will be able to code simple interactions using javascript</li>
<li>You will have learned about some of the early history of the web</li>
<li>You will have challenged your notions of what a website can be</li>
</ul>
<h3>We will probably not cover:</h3>
<ul>
<li>React and other javascript frameworks</li>
<li>Back-end databases</li>
<li>Job specific skills for a coding job or other forms of job prep</li>
<li>Non web-centric languages</li>
</ul>
<h3>Material Requirements</h3>
<ul>
<li>A computer with reliable Internet connection</li>
<li>A free Zoom account</li>
<li>A free Slack account (an invitation to a class group will be sent to each participant)</li>
<li>Pen and paper</li>
</ul>
<h3>Software Requirements</h3>
<p>We'll be using Glitch and VS Code, students are welcome to use the text editor of their choice.</p>
<h3>Scholarship Information</h3>
<p>Scholarship seats are available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>


Websites Beyond the Page

A purple square with magenta translucent web page icons with the title "websites beyond the page"

Websites Beyond The Page

Intro to AR Type

<p><a href="https://beatrizl.com/">Beatriz</a> (she/her) is a designer, typographer, and educator exploring how technology can push typography to exist at the intersection of the physical and digital world. She teaches interaction design at Parsons and was formerly a design director at Sunday Afternoon.</p>
<p>Originally on the path to becoming a mechanical engineer, Beatriz shifted to graphic design as her involvement in immigrant rights activism exposed her to the power of visual communication. Her work has been recognized by the ADC, TDC, Communication arts, and PRINT. Some of her clients include ESPN, Target, and NPR.</p>


Image of a woman with long hair on a green background.

Beatriz Lozano

Designer, Typographer, and Educator

<p>This class is designed as an introduction to the possibilities AR can open for designers and typographers. In this class we will explore the latest AR technology, and reimagine how our work can be expanded to exist in all dimensions. The tools and softwares to design in AR are constantly changing and evolving, so the goal of the class is less about the technical skills we will learn and more about developing our abilities to embrace, adapt, and harness technology for good.</p>
<p>In this five-week course we will learn the history and present role of AR in our current visual landscape. We will learn how to utilize multiple tools to translate existing 2D designs into kinetic 3D objects, and how to export our designs as functioning AR experiences. Our homework assignments will be a series of opportunities for each student to develop an augmented reality type specimen using a typeface they designed themselves or one they admire.</p>
<h3>Audience and Format</h3>
<p>This class will be taught online via Zoom and Slack. The ideal student is a designer with little to no prior experience with augmented reality, but who has a strong interest in typography and technology. Students are expected to attend all five classes, complete their weekly assignment, and engage with the work of their peers.</p>
<h3>Goals</h3>
<ul>
<li>To embrace technology and harness it to create positive and impactful work</li>
<li>To reimagine our work beyond the two-dimensional space</li>
<li>To create a community of peers who share your curiosity and passion for type + technology</li>
</ul>
<h3>Learning Outcomes</h3>
<ul>
<li>Understanding of AR history</li>
<li>Understanding of the latest AR tools</li>
<li>Learn to ideate and translate concepts in 3D</li>
</ul>
<h3>Material Requirements</h3>
<ul>
<li>A computer with reliable internet connection</li>
<li>A free Zoom account</li>
<li>A free Slack account (an invitation to a class group will be sent to each participant)</li>
<li>Phone that supports AR</li>
<li>Phone to computer cable</li>
<li>Spark AR</li>
<li>Apple AR kit (optional)</li>
<li>Blender (optional)</li>
</ul>
<h3>Software Requirements</h3>
<p>Before enrolling in this class please make sure your phone is AR compatible. If you are an iphone user this means having an iPhone model that is no earlier than the 7. All of the software we will be using is free and available for download online. Before enrolling please make sure that your laptop is compatible with Spark Studio.</p>
<h3>Scholarship Information</h3>
<p>Scholarship seats are available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>


Lettering Variations

<p><a href="https://www.instagram.com/genramirez">Gen Ramírez</a> (he/him) is a typeface designer, graphic designer, calligrapher and sign-painter from Guadalajara, Mexico. His strong interest and passion for brushes and letterforms developed since a young age as he was taught mastery of sign-painting in his father’s workshop. It later led him to graduate from TypeMedia at the Royal Academy of Art in The Hague as well as completing both Type@Cooper Extended program in San Francisco and Condensed in New York. He teaches calligraphy, sign-painting, and type design workshops and leads Letrastica Festival, a conference in Guadalajara. With strong roots in an organic approach to letterforms, his work focuses on embracing both the analog and digital dimensions of design. He loves adding a dash of code in there to spice things up too!</p>


Image of a man with short hair on a background featuring lettering and sign-painting practice sheets.

Gen Ramírez

Typeface Designer, Graphic Designer, Calligrapher, and Sign-Painter

<p>In this workshop we'll analyze, explore, and practice some of the more popular lettering styles while learning about the historical background, tools, drawing  techniques, type parameters, and conceptual frameworks. We will mostly be using an analog approach in our explorations.</p>
<p>We will study the foundations of roman, italic, script, block, brush lettering. We will modify, mix and extrapolate many of the rules and features of the classics to create letterforms with a unique personality. We will define a brief to create a piece of lettering under a dynamic and iterative process that will allow us to try many design directions for the same intended purpose.</p>
<h3>Audience and Format</h3>
<p>This workshop is for lettering enthusiasts that have some experience drawing letters and feel trapped or limited by their own style. The participants need basic drawing skills, patience, resilience and have to be willing to embrace happy mistakes.</p>
<h3>Goals</h3>
<ul>
<li>Developing a new perspective on lettering by gaining a better understanding of letterforms</li>
<li>Establishing workflow from idea, through sketching and iterating, to a final piece of lettering</li>
<li>Practice observing, analyzing and being critical during the creative process</li>
<li>Understanding foundations through classic models</li>
<li>Understanding tools to confidently explore new styles and create an original piece of lettering</li>
</ul>
<h3>Learning Outcomes</h3>
<ul>
<li>Understanding of basic lettering principles such as composition, hierarchy, use of color, etc.</li>
<li>Understanding of type design parameters in order to create a piece of lettering such as spacing, consistency, rhythm, etc.</li>
<li>Understanding classic models and how to adapt them</li>
<li>Learning to define a brief for a lettering project</li>
<li>Learning to explore and set a design direction for a lettering piece</li>
<li>Setting up a workflow and iterating through a mostly analog approach</li>
</ul>
<h3>Material Requirements</h3>
<ul>
<li>A computer with reliable Internet connection</li>
<li>A free Zoom account</li>
<li>A free Slack account (an invitation to a class group will be sent to each participant)</li>
<li>Flat brush and broad edge tools</li>
<li>Pointed brush and pointed nibs</li>
<li>Inks for nibs</li>
<li>Tempera, gouache</li>
<li>Drawing tools (Pencils, eraser, whiteout, rulers, etc.)</li>
<li>Tracing paper or Marker Paper</li>
<li>Scissors and tape</li>
<li>Optional: Vector based drawing software (i.e. Illustrator, Robofont, Glyphs)</li>
</ul>
<h3>Scholarship Information</h3>
<p>Scholarship seats are available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>


A colorful banner on sky blue that says "Crash Course In Type Design" on colorful backgrounds. Expressive typography

Crash Course in Type Design SU 23

<p>Type design is a tricky thing to learn on your own and a 10-week or year-long program is a big commitment — test the typographic waters in this condensed, 5-week type design class! We will learn the fundamentals of type design while cheering each other on in a virtual classroom. You will learn how to create an original design concept and translate it into a functional typeface in an uppercase A-Z character set while keeping spacing and usability in mind.</p>
<p>Whether you’re a graphic designer or a beginner type designer, you will learn the ins and outs of the type design process with like-minded comrades. At the end of this course, you will have the skills to continue your type design practice or feel prepared for a longer type design program. You will have enhanced your typographic vocab and gained an intimate understanding of what it takes to be a type designer. Let’s draw letters together!</p>
<h3>Audience and Format</h3>
<p>This class is open to beginner through intermediate type design students. We will cover the process of making a font from ideation to creating your very own type specimen. It is meant for students who would like a rigorous yet supportive environment for learning about type design.</p>
<p>This class is taught online via Zoom. With an accompanying Slack channel, students will have a communal space for sharing work and troubleshooting. Each week, students will be expected to watch pre-recorded lectures and spend a few hours outside of class working on their typeface.</p>
<h3>Goals</h3>
<ul>
<li>Create an original or revival typeface</li>
<li>Have an understanding of the type design process</li>
<li>Create a supportive community of type enthusiasts</li>
</ul>
<h3>Learning Outcomes</h3>
<ul>
<li>Learn the ins &#x26; outs of the Glyphs App</li>
<li>Learn how to design Latin caps (A-Z)</li>
<li>Develop an eye for spacing</li>
<li>Gain proofing skills &#x26; a typographic vocabulary</li>
<li>Create a small type specimen that celebrates your project</li>
</ul>
<h3>Material Requirements</h3>
<ul>
<li>Reliable Internet connection</li>
<li>Mac computer (laptop or desktop)</li>
<li>Glyphs App (a free temporary license will be issued to each student)</li>
<li>A free Zoom Account</li>
<li>A free Slack account (an invitation to a class group will be sent to each participant)</li>
<li>A license to a professional Graphic Design Software such as Adobe Creative Suite or Affinity Designer to test the fonts.</li>
<li>A black chisel tip marker (Sharpie or preferred black ink marker)</li>
<li>Pentel Presto Jumbo Correction Pen or white-out</li>
<li>Black ink or paint</li>
<li>A drawing pad or paper (8.5” x 11” or larger)</li>
</ul>
<h3>Software Requirements</h3>
<p>The instructor will be working, demoing, and providing tutorials using Glyphs App (Mac only). A temporary Glyphs App license will be provided to all participants for the duration of the class. However, you’re welcome to use Fontlab (Windows and Mac) or Robofont (Mac only) as long as you’re comfortable with troubleshooting technical issues by referring to your font editor’s manual or forum.</p>
<h3>Scholarship Information</h3>
<p>A <a href="https://www.typeelectives.com/scholarships">scholarship</a> seat is available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>


Crash Course in Type Design SU 23 Square

<p><a href="https://www.jomalinis.com/">Jo Malinis</a> (she/her) is a graphic designer, type designer, and educator from the Philippines. She has worked with local and international businesses, start-ups, and organizations both with her previous studio, Plus63 Design Co., and individually as a freelancer. In 2022, Jo earned a postgraduate certificate from Type West at the Letterform Archive. Currently, Jo is an instructor at the University of the Philippines Diliman College of Fine Arts, teaching Visual Design Communication and Type Design. Jo founded <a href="http://type63.ph/">Type63</a>, an initiative that aims to serve as a platform to celebrate and showcase type design and typography by Filipinos.</p>


Portrait of a woman with long hair wearing glasses.

Jo Malinis

Graphic & Type Designer, Educator

"Crash Course in Revival Type Design" rendered in white bubbly text over an orange background

Crash Course in Revival Type Design 

<p>Creating revival typefaces is one of the best ways to learn the fundamentals of type design. In this condensed 5-week course, you will learn how to create a font based on a historical reference. Each student will begin with an inspiring source of type and will use that as the foundation for your revival project.</p>
<p>Starting your type design journey with a revival typeface is a great way to learn the nuances of creating a type system. It immerses the designer in the logistics and software without the pressure of creating an original prototype. Throughout the development of a revival font, you will learn how to study your type revival sources to understand the intentions behind the work and be able to take your own typographic liberties where you see fit.</p>
<p>Whether you’re a graphic designer, a beginner type designer, or trying it for the very first time, you will learn the ins and outs of the type design process with like-minded comrades. At the end of this course, you will have the skills to continue your type design practice or feel prepared for a longer type design program. You will have enhanced your typographic vocab and gained an intimate understanding of what it takes to be a type designer. Let’s revive type together!</p>
<h3>Audience and Format</h3>
<p>This class is open to beginner through intermediate type design students. We will cover the process of making a font from ideation to creating your very own type specimen. It is meant for students who would like a rigorous yet supportive environment for learning about type design.</p>
<p>This class is taught online via Zoom. With an accompanying Slack channel, students will have a communal space for sharing work and troubleshooting. Each week, students will be expected to watch pre-recorded lectures and spend a few hours outside of class working on their typeface.</p>
<h3>Goals</h3>
<ul>
<li>Create a revival typeface based off of a historical reference</li>
<li>Have an understanding of the type design process</li>
<li>Create a supportive community of type enthusiasts</li>
</ul>
<h3>Learning Outcomes</h3>
<ul>
<li>Learn the ins &#x26; outs of the Glyphs App</li>
<li>Learn how to design Latin caps (A-Z)</li>
<li>Develop an eye for spacing</li>
<li>Gain proofing skills &#x26; a typographic vocabulary</li>
<li>Create a small type specimen that celebrates your project</li>
</ul>
<h3>Material Requirements</h3>
<ul>
<li>High-resolution image(s) of the typeface(s) you'd like to digitize containing the characters A-Z in uppercase</li>
<li>Reliable Internet connection</li>
<li>Mac computer (laptop or desktop)</li>
<li>Glyphs App (a free temporary license will be issued to each student)</li>
<li>A free Zoom Account</li>
<li>A free Slack account (an invitation to a class group will be sent to each participant)</li>
<li>A license to a professional Graphic Design Software such as Adobe Creative Suite or Affinity Designer to test the fonts.</li>
<li>A black chisel tip marker (Sharpie or preferred black ink marker)</li>
<li>Pentel Presto Jumbo Correction Pen or white-out</li>
<li>Black ink or paint</li>
<li>A drawing pad or paper (8.5” x 11” or larger)</li>
</ul>
<h3>Software Requirements</h3>
<p>The instructor will be working, demoing, and providing tutorials using Glyphs App (Mac only). A temporary Glyphs App license will be provided to all participants for the duration of the class. However, you’re welcome to use Fontlab (Windows and Mac) or Robofont (Mac only) as long as you’re comfortable with troubleshooting technical issues by referring to your font editor’s manual or forum.</p>
<h3>Scholarship Information</h3>
<p>A <a href="https://www.typeelectives.com/scholarships">scholarship</a> seat is available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>


Crash Course in Revival Type Design

Crash Course in Revival Type Design Square

Teal Blue letters rendered on yellow background with graffiti images. Text reads 'Graffiti Concepts for Type People'

Graffiti Concepts for Type People

<p><a href="https://www.keltroughtonstudio.com/">Kel Troughton</a> (he/him) is a type designer, lettering artist, graffiti writer, and educator, living in Oakland CA. He works with Letterform Archive to collect graffiti magazines, drawings, and books. Kel is a co-curator of the exhibition “Subscription to Mischief” at Letterform Archive, showcasing the 1990s graffiti community and the independent publishing that documented it. He started writing graffiti in 2000 and has continued to add letter-based interests ever since. He studied Type design at Type@Cooper West, worked at Monotype, and currently works on freelance type and lettering projects. His company <a href="https://overlaptype.com/">Overlap Type</a> focuses on type design that utilizes ideas from his graffiti experience. In short, Kel is a letter person.</p>


Man wearing black mask with white sunglasses and colorful shirt. Background has painted letters.

Kel Troughton

<p>This workshop will cover a history and critique of modern graffiti letterforms that stem from NYC subway writing in the 1970s. From this jumping off point, we will look at many forms of letter based graffiti work and relate them to type design and lettering. Through a series of sketching exercises I hope to help participants understand letterforms in new ways, even finding new and useful ideas for type or lettering work. This workshop will deal with the tradition of style writing, a sect of letter based graffiti art that has its own rules and subculture, fully separate from street art. As a graffiti writer working in type and lettering, I hope to help students get past any preconceptions, and learn about letterform creation from experts in a scene that the public doesn’t usually have access to.</p>
<p>The course is split up into two hour live classes: a pre-recorded hour, and a weekly office hour. During the live class, students will have a lecture on different disciplines of graffiti work, followed by a series of related drawing exercises. In the pre-recorded portion of the workshop, students will get access to interviews with writers, as well as Timelapse videos with narration about process. There will be homework drawing exercises geared towards refining the in-class sketches, and extracting the ideas that could work for your type and lettering projects. Over the course of the workshop, students will build an alphabet utilizing graffiti principles to create something that works as lettering or type. Student projects can utilize the workshop to create a typeface, but much of the ideation will come from sketching on paper, so ending with a detailed lettering piece is great too. The course is based around creating letter based work from new and different sources. There will be no instruction in using type design software during this course.</p>
<h3>Audience and Format</h3>
<p>This would be a great place to learn about graffiti letterforms if you are a fan, but not an active participant (writer) yourself, and are involved in either type or lettering work. The lessons will help you draw in new ways, learn from a subculture with its own sensibilities, and add style to your own disciplines. This is not a graffiti instructional workshop nor is it a type design class, it is about thinking about letterforms in new ways, and bringing that into your personal practice as a letter person. No prior graffiti knowledge is totally fine, but students should have some lettering or type design experience to be able to get the most out of the class.</p>
<h3>Goals</h3>
<ul>
<li>Introduce type and lettering people to a larger world of letterforms, and dig into history.</li>
<li>Allow students access and examples from an insiders perspective, and dig into theory.</li>
<li>Work on drawing exercises to get out of your comfort zone.</li>
<li>Create new alphabets utilizing graffiti and other sources to make something new.</li>
</ul>
<h3>Learning Outcomes</h3>
<p>Students completing this workshop will have a much deeper understanding of the letterform craft involved in graffiti writing. Through the lectures and exercises, students will come away with new tools for inspiration in their letter based work and how to implement those into original ideas. Class projects will showcase an appreciation for the graffiti writing discipline, but also be able to stand alone as original ideas in type or lettering. Students will also leave this workshop with a new appreciation, comprehension, and ways to critique and enjoy the graffiti they see around them.</p>
<h3>Material Requirements</h3>
<ul>
<li>Reliable Internet connection</li>
<li>A computer (laptop or desktop)</li>
<li>A free Zoom Account</li>
<li>A free Slack account (an invitation to a class group will be sent to each participant)</li>
<li>Canson XL marker paper 9 x 12</li>
<li>Stabilo Boss Chisel Highlighters, various colors (other chisel highlighters could work too)</li>
<li>Sharpie broad nib chisel markers (black)</li>
<li>Sharpie or equivalent fine point markers (Black)</li>
<li>Micron, Pentel Sign pens, or similar small detailed black pens</li>
<li>Presto Jumbo correction pen (white out)</li>
<li>Pencils and Erasers</li>
</ul>
<h3>Notes about Materials</h3>
<p>You may use an iPad to complete your projects, but all class exercises will start on paper. Please make sure you get the supplies before class.</p>
<h3>Scholarship Information</h3>
<p>A <a href="https://www.typeelectives.com/scholarships">scholarship</a> seat is available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>


<p>James Plattner is a designer/artist currently based in Cincinnati, Ohio. He graduated from the University of Cincinnati where he studied art and design, and studied type at Type@Cooper. He works in lettering, type, and branding.</p>


Man with brown hair slightly smiling on textured rock background

James Plattner

<p><a href="http://www.penghuijan.com/">Klio Peng</a> (she/they) is an independent type designer from Taiwan. She completed Mojijuku 文字塾, a one-year Japanese Typeface Design Program instructed by Torinoumi Osamu in Tokyo in 2020, and the Type@Cooper Extended Program in 2023. Klio has been working remotely with Sharp Type since 2021. She enjoys practicing single-stroke sign paintings, drawing Chinese, Japanese, and Latin typefaces, and starting her mornings with meditation, and taking care of plants.</p>


A person with short black hair sitting with their arms crossed next to a plant.

Klio-Peng Headshot

Klio Peng

ATF-CalligraphyBanner

<p>Jamie Chang (he/him) Founder of <a href="https://www.manictype.com/">Manic Type</a>, Jamie Chang is a seasoned type designer and letterer based in Toronto, Canada. Jamie’s work delves into expressive typography, and its textural intricacies. A graduate of Type@Cooper and holding an MA TypeMedia from The Royal Academy of Art in the Hague. He now teaches at the Ontario College of Art and Design. He has spent years working on his independent practice designing typefaces, and working for Canada Type and The Northern Block.</p>


Portrait of a person with short black hair wearing a white button-down shirt smiling in front of a white wall.

Jamie-Chang_Headshot

Jamie Chang

<p>Have you ever had that nagging feeling about the last piece of type you whipped up? You know, the one that didn't quite sit right, but you couldn't put your finger on it? It's like the itch that just won't quit. Well, guess what? We've got your back!</p>
<p>Welcome to the workshop series where we'll help you demystify that mysterious "what the heck is wrong with it" feeling. We’ll be breaking down the mechanics of how letters are formed, and revealing how to build type systems from the ground up. By studying and understanding the calligraphic roots of letterforms, we will typographically rewire your brain.</p>
<p>This isn't your typical workshop. We're here to give you the whole shebang, the A to Z of letters and type design. A back-to-basics for those with experience. It's the course you wish existed, tailor-made for those looking to up their type game.</p>
<h3>Audience and Format</h3>
<p>Recommended for intermediate type students who have had experience with calligraphy, type design, and lessons in type construction. This is a course designed for people who have gone through the process and have a desire for a more in depth look into foundational type design concepts.</p>
<h3>Goals</h3>
<ul>
<li>A better understanding of type from a tool based point of view</li>
<li>A stronger mental framework to build typographic systems</li>
</ul>
<h3>Learning Outcomes</h3>
<ul>
<li>Learn how to analyze and study type</li>
<li>Learn how to assess problems in your designs</li>
</ul>
<h3>Material Requirements</h3>
<ul>
<li>A computer with reliable Internet connection</li>
<li>A free Zoom Account</li>
<li>A free Slack account (an invitation to a class group will be sent to each participant)</li>
<li>Flat brush &#x26; pointed brush, ink, paper</li>
</ul>
<h3>Scholarship Information</h3>
<p>A <a href="https://www.typeelectives.com/scholarships">scholarship</a> seat is available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>


Advanced Type Foundations: Calligraphy

ATF-CalligraphyCover

Animated white type over a black background.

Intro to Kinetic Type Rectangular Banner

<p><a href="https://candicebotelho.me/">Candice</a> (she/her) is an art director, motion designer, and illustrator from Brasilia, Brazil, based in New York City. Her practice revolves around exploring brands’ microcosms through animation, typography, and 3D graphics, creating compelling visual systems within them. Since 2022, she has been working as an independent contractor with a variety of digital platforms and marketing agencies. Her work has been featured at the University of Edinburgh, Comic Con, and recognized by Working Not Working.</p>


Portrait of a woman with long hair on a white background.

Candice Botelho Headshot

Candice Botelho

Animator & Art Director

<p>Animation has been around for over a hundred years and it has had a significant influence on the way we experience media. Since the early days of cinema, typography has been an object for animation in titles, subtitles, TV commercials, but it wasn’t until social media became a crucial part of our lives, that animation was seen as a natural behavior of type. Since then designers have been urged to crack the, rather intimating, animation softwares to integrate movement into their practice.</p>
<p>This workshop was designed to serve as a travel kit that will equip you to navigate Adobe After Effects in a very practical way: We’ll cover workspace housekeeping, what are keyframes, and how they work, and we will cover the 5 most commonly used techniques to animate type. It will be packed with tips, shortcuts, and demos that will help you demystify kinetic type. We’ll have a final animation project in the third portion of the class, and students will have the opportunity to go over any questions that may arise during the process with our TA.</p>
<h3>Audience and Format</h3>
<p>Some familiarity with After Effects is most welcome but optional. Beginners will definitely be the most to benefit from this class, although intermediaries will also be able to extract valuable gems from it.</p>
<h3>Goals</h3>
<ul>
<li>Develop awareness of the animations tools available in After Effects</li>
<li>Create a typographic animation</li>
</ul>
<h3>Learning Outcomes</h3>
<ul>
<li>Learn how to organize their workspace in After Effects</li>
<li>Learn how to set up their Adobe Illustrator file for animation</li>
<li>Learn 5 different animation methods</li>
</ul>
<h3>Material Requirements</h3>
<ul>
<li>A computer with reliable Internet connection</li>
<li>A free Zoom Account</li>
<li>A free Slack account (an invitation to a class group will be sent to each participant)</li>
<li>Adobe After Effects</li>
<li>Adobe Illustrator</li>
</ul>
<h3>Scholarship Information</h3>
<p>A <a href="https://www.typeelectives.com/scholarships">scholarship</a> seat is available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>


Intro to Kinetic Type

Animated white type over a black background

Intro to Kinetic Type Square Banner

<p><a href="http://www.ginaroi.com/info">Gina</a> (she/her) is a passionate storyteller with 10 years of experience working in branding throughout New York City. Her love for illustrating with type only grew stronger while working on the Brand Studio team at The Public Theater with creative director Paula Scher. She specializes in lettering, motion graphics, and typographic systems for cultural institutions, startups, and the food and beverage industry as an independent designer and art director.</p>


Gina Roi Headshot

Gina Roi

Art Director & Designer

The words "Display Type" are rendered on white letters over a blue background.

Fundamentos del Diseño de Tipografías Display

<p>Las tipografías display son declaraciones de amor hacia el arte del diseño tipográfico. Nos ofrecen oportunidades para explorar los límites de la legibilidad, la creatividad y la autoexpresión mientras nos invitan a entablar una conversación con el idioma, la cultura y la forma. Aprender a diseñar tipografías display es una habilidad útil para desarrollar una comprensión profunda de las herramientas y los procesos para hacer tipografías, así como para encontrar una propia voz en el campo.</p>
<p>En este taller de diez semanas, aprenderemos los fundamentos para diseñar tipografías display que hablen por sí mismas. Haciendo énfasis en los métodos de bocetaje y las estrategias de diseño, aprenderás a crear formas de letras y producir fuentes que se destaquen. Les participantes investigarán para desarrollar su propio informe creativo, practicarán rigurosamente mediante ejercicios de bocetaje semanales y perfeccionarán su disciplina y destreza personal.</p>
<p>Esta clase cubrirá los conceptos básicos del bocetaje de letras hechas a mano y digitalmente utilizando curvas de Bézier para diseñar sistemas coherentes y desarrollar su propio lenguaje tipográfico. Ya seas diseñadore gráfico o un diseñadore tipográfico en crecimiento, esta clase te ayudará a mejorar tus habilidades tipográficas, salir de tu zona de confort y subir de nivel antes de un programa de maestría. Nos divertiremos mucho y crearemos nuevas tipografías display.</p>
<h3>Audiencia y Formato</h3>
<p>Esta clase se impartirá en línea a través de Zoom y Slack. Habrá participación en clases y tareas cada semana para permitir que los estudiantes se desafíen a sí mismos y desarrollen habilidades prácticas y críticas. El estudiante ideal puede variar desde alguien con conocimientos básicos de las curvas de Bézier (por ejemplo, la herramienta de lápiz en Adobe Illustrator) que está creando una fuente por primera vez hasta alguien con años de experiencia y dominio de las herramientas que quiere utilizar esto como oportunidad de continuar desarrollando su práctica y unirse a una comunidad de estudiantes. Las cualidades más importantes para tener éxito en esta clase son ser curioso, tener una mente abierta y estar dispuesto a iterar y desafiarse a sí mismo.</p>
<h3>Objetivos</h3>
<ul>
<li>Descubre tu propio proceso y desarrolla un flujo de trabajo eficiente</li>
<li>Desarrolla tu ojo para juzgar la consistencia en el contraste, el color, el espaciado y el ritmo</li>
<li>Desarrolla una comprensión de la relación entre la caligrafía, el lettering y la tipografía</li>
<li>Únete a una comunidad de personas apasionadas por las letras</li>
</ul>
<h3>Resultados del Aprendizaje</h3>
<ul>
<li>Aprende habilidades de dibujo digital</li>
<li>Aprende a utilizar la aplicación Glyphs, un editor de fuentes digitales</li>
<li>Aprende los conceptos básicos del diseño tipográfico</li>
<li>Aprende a diseñar y espaciar un conjunto de caracteres latinos básicos</li>
<li>Aprende a corregir y evaluar una tipografía</li>
<li>Aprende los conceptos básicos de OpenType y soporte de idiomas</li>
<li>Aprende a dibujar para interpolación y producir fuentes variables</li>
</ul>
<h3>Materiales Requeridos</h3>
<ul>
<li>Computadora Mac (portátil o de escritorio)</li>
<li>Una conexión a Internet confiable</li>
<li>Una cuenta de Zoom gratuita</li>
<li>Una cuenta de Slack gratuita (se enviará una invitación a un grupo de clase a cada participante)</li>
<li>Aplicación Glyphs, se emitirá una licencia educativa temporal gratuita a cada estudiante matriculado</li>
<li>Una licencia de un software de diseño gráfico profesional como Adobe Creative Suite o Affinity Designer para probar las fuentes.</li>
<li>Bolígrafo de caligrafía Speedball con puntas C1 o Pilot Parallel Pen, 6,0 mm + recambios (tinta negra)</li>
<li>Portalápices oblicuo Speedball</li>
<li>Punta Gillott 303 o similar</li>
<li>Canson Pro-Layout Marker Paper Pad, 9" × 12" 50-Sheet Pad or similar</li>
<li>Rollo blanco para dibujar y trazar, 12 pulgadas por 20 yardas o un tipo similar de rollo o bloc de papel de calco</li>
<li>Tinta no impermeable (negra, nogal u otro color oscuro)</li>
<li>Plato o vaso poco profundo para tinta</li>
<li>Borrador, white-out, tijeras y cinta adhesiva (se recomienda cinta de artista o cinta removible)</li>
<li>Cualquier tipo de cuaderno para bocetos analógico o digital para tomar notas y anotar ideas</li>
<li>Se recomienda el acceso a una impresora láser en blanco y negro para corregir tareas y ejercicios de clase.</li>
</ul>
<h3>Requisitos de Software</h3>
<p>El instructor trabajará, realizará demostraciones y brindará tutoriales utilizando la aplicación Glyphs (solamente disponible en Mac). Se proporcionará una licencia temporal de la aplicación Glyphs a todos los participantes durante la duración de la clase. Sin embargo, puedes usar Fontlab (Windows y Mac) o Robofont (solo Mac) siempre que te sientas cómodo solucionando problemas técnicos consultando el manual o el foro de tu editor de fuentes.</p>
<h3>Información de Becas</h3>
<p>Hay plazas becadas disponibles para este curso. Consulte más detalles en la <a href="https://www.typeelectives.com/scholarships">página de becas</a>. Esta beca está abierta a todas las personas negras, indígenas y de color, y se dará prioridad a aquellos que tengan recursos o acceso limitado a oportunidades educativas.</p>


<p><a href="https://www.behance.net/TamaraSegura">Tamara Segura</a> (she/her) is a Mexican type designer and letterer. She studied a one-year program in Type Design at Centro University, and continued her education at Type@Cooper Condensed 2021, as well as Type West 2021. She has worked as a graphic, branding and packaging designer at different agencies, while working independently as a type designer and letterer. Active in the type community as part of Times New Woman and Letrástica staff.</p>


Portrait of a woman with long hair standing on a white background

Tamara Segura Headshot

Tamara Segura

Type & Lettering Designer

Techniculture course image, that says 'techniculture' in large, dreamy colorful letters in the background

Techniculture SP24 Landscape Image

<p><a href="https://munusshih.com">Munus Shih</a> (he/they) is a Taiwanese Hakka designer, coder, organizer based in NYC, passionate about bringing more critical and diverse perspectives to teaching code. Munus was a fellow for the Processing Foundation, where they contributed to open source projects and helped develop decolonial teaching resources. As an organizer, Munus co-founded <a href="https://www.instagram.com/sponact.xyz">SpOnAcT</a>!, a collective and garden for gender and neuro queers in Taiwan. They’re also a part of NEW INC in the group <a href="https://dutyfreedesign.online/">Duty free</a>, a design collective that explores the liminal space of art, code and solidarity economy.</p>


Munus Shih

Creative Technologist, Designer & Educator

<p><a href="https://bozo.services">Tee Topor</a> (they/them) is a human collaborating with computers and communities. In their art practice, tee experiments with digital materialism and physical space through the combination of computer generated graphics, code, and digital fabrication. They are interested in creating multidimensional interactive experiences that spark conversations around the future of ecological and economic systems, mediated by the advancement, reconstruction and decolonization of technology. Currently, they are an adjunct professor at Parsons School of Design and New York University where they teach classes on how to make art for the Internet and for virtual reality applications. They are also an active member within the Illuminator collective, who disrupt urban spaces by projecting large scale political messages of working class people. Additionally they are a studio member at LARPA, a Brooklyn based new media art organizing space. Most recently they co-organize <a href="https://dutyfreedesign.online/">Duty Free</a>, an aspiring worker owned design coop.</p>


An image of Tee Topor, with red hair standing in front of a green pattern background, wearing a blue flame shirt and keyboard

Tee Topor

Artist and Designer 

<p><a href="https://niktari.com/">Nikki Makagiansar</a> (she/her) is a designer, coder, and educator based in New York City who creates type-driven identity systems and websites. Central to her practice is exploring code as a design and art-making tool. Nikki also teaches at Parsons School of Design and Cooper Union. Previously, she was a designer at Pentagram, where she helped develop data-driven and algorithmic identities. Nikki is a co-founder of <a href="https://dutyfreedesign.online/">Duty Free</a>, a design collective that explores the possibilities between art, code, and the solidarity economies. Currently, Duty Free is a member of NEW INC, an art and technology incubator led by the New Museum.</p>


Nikki Makagiansar

Designer, Coder & Educator

<p>Join us for a 6–week course to explore the intricate connection of type, culture, and technology in this in-person workshop series in NYC. Led by five instructors from Duty Free and Space Type, this course creates a space for authentic questioning, hands-on exploration, and meaningful experimentation. The class size will be limited to 10 students.</p>
<p>Together, we’ll examine the complexities of our contemporary technological landscape, starting by grounding ourselves in a redefinition of what ‘technology’ means to us. We will collectively create a pixel font as we trace modular aesthetics as an art form with roots in indigenous culture. As the course progresses, we'll dive deeper into the computational craft of drawing letterforms, experimenting with tools such as p5.js, Polycam, and Blender.  Each week will be situated in a new theme and contextualized by curated readings and critical making tutorials. Together, we will discuss themes such as labor, queerness, memory, and the body. We will use these themes as a basis to inspire our technical explorations in modular typography, parametric fonts, 3D capture, type in motion and zine making. In this immersive course, we acknowledge that type and technology don't exist in a vacuum—they're woven into the fabric of our cultural landscape, with all its nuances. The workshop aims to cultivate active collaboration among participants, and the outcomes of each module will serve as foundational material for subsequent sessions. To wrap up our collective experience, we'll create a collaborative publication, capturing our collective work and reflections on this cultural narrative.</p>
<p>This workshop will cover an encompassing view that goes beyond the usual boundaries, creating an open environment where we can create, learn, and flourish while keeping our headspace in a critical context.</p>
<h3>Audience and Format</h3>
<p>This workshop is formatted into six weekly sessions, each led by different instructors, taking place in person in downtown NYC (250 Hudson St, New York, NY 10013). Each session places a strong emphasis on the cultural and collaborative dimensions of the topic. The workshop aims to cultivate active collaboration among participants, and the outcomes of each module will serve as foundational material for subsequent sessions. The workshop series draws inspiration from the exquisite corpse method—a collaborative assembly of words or images.</p>
<p>This course welcomes individuals of all skill levels, including folks with no prior coding/programming experience, who are interested in technology and its cultural context. The content is especially beneficial for those seeking to challenge their perceptions of technology in society and culture.</p>
<p>Participants are encouraged to read assigned texts before each weekly class and actively engage in collaboration by sharing their thoughts and reflections in the classroom. Aside from reading, the course is designed so that there are no mandatory assignments outside the classroom, but we ask that participants come to class ready to fully engage in the material and discussion with the class.</p>
<h3>Goals</h3>
<ul>
<li>Become an active (not passive!) participant in the ever changing contemporary technology landscape</li>
<li>Understanding and familiarity around the concept of generative design through computation</li>
<li>A holistic framework of viewing design from an intersectional lens</li>
<li>Engage in critical discussions around type, technology and cultural context</li>
</ul>
<h3>Learning Outcomes</h3>
<ul>
<li>Basics of Glyphs App</li>
<li>Understanding of basic programming concepts</li>
<li>Introduction to p5.js and other javascript/creative coding libraries</li>
<li>Introduction to 3D scanning and mesh editing basics</li>
<li>Introduction to Figma and designing for digital and physical publication</li>
</ul>
<h3>Material Requirements</h3>
<ul>
<li>An hour to dedicate for weekly readings prior to class</li>
<li>A laptop/portable computer with a modern browser installed (Mac recommended for 1st week although not necessary) and a function webcam</li>
<li>Note-taking materials</li>
</ul>
<h3>Scholarship Information</h3>
<p>Scholarship seats are available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>


Techniculture: A Critical Lens on Modular Type and Generative Design 

Techniculture SP24 Square Image

Image for Advanced Type Foundations: Béziers

ATF-Beziers

<p>Does vectoring make you feel like herding cats sometimes? We get that, and we're here to make sure you never have to feel like that again.</p>
<p>Welcome to the workshop series where we'll help you demystify that mysterious "what the heck is wrong with it" feeling. We’ll be exploring the qualities of shapes, strategies to wrangle the unruliest of béziers and concepts that will help you tackle even the largest of projects.</p>
<p>By the end of this workshop, you’ll be ready to tame the wildest of glyphs. A back-to-basics for those with experience. It's the course you wish existed, tailor-made for those looking to up their type game.</p>
<h3>Audience and Format</h3>
<p>Recommended for beginner to intermediate students who have a basic understanding of calligraphy, type design, and type production. Students should be familiar with the type design process.</p>
<h3>Goals</h3>
<ul>
<li>To become a vector whipping wunderkind</li>
</ul>
<h3>Learning Outcomes</h3>
<ul>
<li>Learn how to analyze and remedy curves</li>
<li>Learn new strategies to incorporate into your workflow</li>
</ul>
<h3>Material Requirements</h3>
<ul>
<li>A computer with reliable Internet connection</li>
<li>A free Zoom Account</li>
<li>A free Slack account (an invitation to a class group will be sent to each participant)</li>
<li>A font editor of your choice</li>
</ul>
<h3>Scholarship Information</h3>
<p>A <a href="https://www.typeelectives.com/scholarships">scholarship</a> seat is available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>


Advanced Type Foundations: Béziers

<p><a href="https://soulellis.com/">Paul Soulellis</a> (he/him) is an American artist, graphic designer, publisher, and educator. He maintains his practice in Providence, Rhode Island. His work includes teaching, writing, and experimental publishing, with a focus on queer methodologies and network culture. His writings and work are cited in scholarly research, and his publications are collected and exhibited worldwide and on the internet. Soulellis is the founder of <a href="https://queer.archive.work/">Queer.Archive.Work</a>, a non-profit organization that joined Binch Press in 2021 to create a 2,000 sq. ft. library, print studio, and residency that supports a growing membership-based community of artists and writers. Binch/QAW has a mission to center Rhode Island-based queer and trans voices with access to space and resources for experimental publishing. Soulellis is also the founder of Library of the Printed Web, a physical archive devoted to web-to-print artists’ books, zines and other printout matter. The collection of 250 works was acquired by The Museum of Modern Art Library in New York in 2017.</p>


Portrait of a man wearing black frame glasses.

Paul Soulellis Headshot

Paul Soulellis

Artist and Educator

<p><a href="https://www.sadieredwing.com/">Sadie Red Wing</a> (she/her) is a Lakota/Dakota graphic designer and advocate from the Spirit Lake Nation. She received her Master of Graphic Design from North Carolina State University. Her research on cultural revitalization through design tools and strategies created a new demand for tribal competence in graphic design research. Red Wing urges Native American graphic designers to express visual sovereignty in their design work, as well as, encourages academia to include an indigenous perspective in design curriculum. Currently, Red Wing serves as an Assistant Professor at OCAD University (Toronto, ONT).</p>


Portrait of a woman wearing a black shirt in front of a field.

Sadie Red Wing Headshot

Sadie Red Wing

Indigenous Graphic Designer & Educator

<p>How might our worldviews have been affected by the aesthetic rules around us? What happens when we question the design canon we’ve been taught in school or asked to uphold in our careers? How might a new or deepened understanding of Black, Indigenous, and queer histories of type influence our creative practices? Why must intersectional design replace myopic modes in a rapidly changing world?</p>
<p>Provoking Type is a 5-week course that invites participants to take a critical &#x26; decolonial lens to type and its role in history, culture, technology, power structures, and identity to explore and reimagine the narratives, contexts, and futures of type. Instructor Schessa Garbutt and guest lecturers offer their critical perspectives on type as a tool and medium, centering BIPOC and othered histories, research methods, and intellectual mirrors while examining classic eurocentric, patriarchal, and capitalist views of the craft.</p>
<p>There is a diverse world of type tools, systems, theories, and histories worth exploring for creatives who are ready to deepen their practices and update their personal canons.</p>
<p>Plainly, this class is for creative folks with ideas about how they want to get into good trouble with type, and use their design powers to affect positive change in the world.</p>
<h3>Audience and Format</h3>
<p>This course will be taught via Zoom and Slack, meeting weekly online. Creatives of all backgrounds and experience levels are encouraged to apply. This class is for those looking to expand their personal canons around type and design while challenging internalized notions of what type is and what their design practice can be.</p>
<p>Each week, students will read a text or write reflections related to the upcoming lecture. Throughout the course, students are expected to actively contribute to class conversations and knowledge building. Students can also participate in optional office hours with the Instructor to deepen their understanding of course materials and lectures.</p>
<h3>Goals</h3>
<ul>
<li>Collectively create a critical thinking framework for discourse around type</li>
<li>Strengthen our ability to articulate and elaborate on the contemporary challenges/desires/ideas we have about type and design</li>
<li>Clarify and embody our personal praxes (reflection, theory, action) to guide our future creative work</li>
<li>Co-create a learning environment that de-centers eurocentric perspectives &#x26; pedagogy</li>
</ul>
<h3>Learning Outcomes</h3>
<ul>
<li>Learn frameworks for thinking critically in relation to type and the design field at large</li>
<li>Learn how to understand our own positionalities and question our biases as designers &#x26; non-neutral actors in the world</li>
<li>Build skills in writing about, articulating, and pursuing a decolonial type &#x26; design practice</li>
<li>Deepen knowledge in type &#x26; design histories of the global majority</li>
</ul>
<h3>Material Requirements</h3>
<ul>
<li>A reliable internet connection</li>
<li>A device capable of Zoom and Slack apps</li>
<li>A free Zoom Account</li>
<li>A free Slack account (an invitation to a class group will be sent to each participant)</li>
</ul>
<h3>Scholarship Information</h3>
<p>Scholarship seats are available for this course. Please check out more details on the <a href="https://www.typeelectives.com/scholarships">scholarship page</a>. This scholarship is open to all Black, Indigenous, and other people of color, with priority given to those who have limited resources or access to educational opportunities.</p>


<p>We offer a wide range of live online classes focused on letterforms, including type design, lettering, and creative technology. Our faculty is made up of people who approach their practice from a place of respect, responsibility, criticality, and love.</p>


Upcoming Courses