What is a family? Are all families toxic? Who is the loudest at the table and what are the dynamics between those who are related?
Contemporary type design relies heavily on interpolation methods, leading to a huge amount of styles. This often results in predictable type families. My work is an attempt to return to the roots of typesetting, when no superfamilies existed. Printers used to mix and match different typefaces when composing text. Instead of designing a family from a single source, I have constructed it from a variety of elements, a variety styles, which I have polished and modified until they work as a family. A type family of bold, regular and italic, text and display optical styles, designed for the catalogues and signage of a second-hand bookstore.
Diploma project (2023) by János Hunor Vári
1/2
1/4
BA GRAPHIC DESIGN
with Robert Huber
First-year students were invited to manually sketch the typographic skeleton of lowercase alphabet letters. The objective was to maintain the proportions, curves, and characteristic axes of each letter while paying close attention to visual coherence and consistency in the drawing.
BA GRAPHIC DESIGN
with Aurèle Sack
Second-year students were required to develop the whole alphabet for one typeface.
BA GRAPHIC DESIGN
with Robert Huber
The creation of a logotype involves establishing a distinct visual identity, embedded in a clearly defined universe. First-year Graphic Design students designed a fully hand-drawn logotype, connected to a subject, a concept, or an environment of their own choice. This work was based on thorough research in typographic archives. Each student compiled a reference notebook and developed a set of specimens, in order to enrich and structure their graphic and formal thinking.
BA GRAPHIC DESIGN
with Aurèle Sack
The third-year students had to develop a typeface and digitize it.
BA GRAPHIC DESIGN
with Aurèle Sack
Second-year students were required to manually develop the lowercase letters of two typefaces.