Design - Type - A Seductive Collection of Alluring Type Designs

Free-form: 148
Type 149

A closer look

344 Design: A veritable therapy session on paper, 344 Questions is designed
USA to help you determine where you are in your life and career, where
you want to be, and how to get there. Hopefully, you’ll also laugh
What happens when you along the way. Each spread in this colorful, pocket-sized book
combine precision with contains a series of several questions illustrated in Stefan
imprecision? It would Bucher’s unique, whimsical, hand-lettered style. The questions
probably look a little are designed to get you thinking, drawing, and writing, with room
like this! on each spread to fill in the blanks and jot down ideas. In addition
to the questions provided by Bucher, the book features questions
from creative celebrities who share some of the questions they
were asked on the way to success or in some cases, the questions
they wish they had been asked.

Free-form: 150
Type 151

The hand-drawn nature of the
typography and graphics give this
piece a beautifully free-form feel
while actually being very modular
and diagrammatic in content. In some
ways, it contradicts itself, and
that’s what makes it work so well.

VISUALMENTALSTIMULI:
USA

Project: Wordscapes of
Western Pennsylvania, a
series of silk-screen
prints that visualizes
Western PA’s unique way
of speaking, and explores
the ‘typographic
landscape’ of the region.
Art Director: David
Kasparek. Designer:
David Kasparek.
Client: Self-initiated.

344 Design: Another Limited Free-form: 152
USA Rebellion: Type 153
USA
Project: Spelling Bee
poster. Art Director: Project: Lisa Moore CD
Stefan G. Bucher. package. Art Director:
Client: 826la.org. Noah Scalin. Designer:
Noah Scalin. Client:
Cantaloupe Music.

Sophia
Georgopoulou:
Greece

Project: Plant your
dreams and let them
grow (self-promotion
packaging). Art Director:
Sophia Georgopoulou.
Client: Sophia
Georgopoulou.

Free-form: 154
Type 155

Jay Roeder:
USA

Project: Blink-182.
Art Director: Jay Roeder.
Designer: Jay Roeder.

Elliott Burford: Elliott Burford: Free-form: 156
USA USA Type 157

Project: Le Sac. Project: Window display.
Designer: Elliott Burford. Art Director: Sam Baron.
Client: Benetton. Designer: Elliott Burford.
Client: Monoprix.

A closer look

Jay Roeder:
USA

What’s so exciting about this work is
that it’s never been anywhere near a
computer. It’s totally free-form,
totally the work of one man’s hand
and a couple of pens.

Often free-form work is
distinguishable by the person who
did it. It has that person’s hallmark
all over it, his style of typography.
But this piece relishes in being
totally diverse, every piece of type
being in some way different, as if
drawn my many different hands.

Free-form: 158
Type 159

It may look like fairly random
doodling, but to create typography
quite so imperfect, you have to know
your stuff. To intentionally get
perspectives wrong, characters
incorrect, and generally allow the
mind to do things it’s trained not to
takes immense skill—and a slightly
warped brain, I suspect!

344 Design:
USA

Project: “ink &
circumstance”. Art
Director: Stefan G.
Bucher. Designers: Emily
Potts, Tom Biederback.
Client: STEP Inside
Design magazine.

Shawn Sanem: Go Welsh: Free-form: 160
USA USA Type 161

Project: Bud Prize Poster Project: Call for entries
2010. Designer: Shawn poster series: Volume 4.
Sanem. Client: Helix. Art Director: Craig Welsh.
Designer: Scott Marz.
Client: Music For
Everyone.

Sophy Lee Design:
USA

Project: Cinderela, a
book cover for the adult
version of Cinderela,
made from old clothes.
Art Director: Sophy Lee.
Designer: Sophy Lee.
Client: MFA, School of
Visual Arts.

Bowling Green State University Free-form: 162
School of Art Graphic Design Division: Type 163
USA

Project: Input/Output
2011 AIGA Toledo/
BGSUGD Portfolio
Review Day poster.
Art Director: Associate
Professor Matt Davis.
Designer: Morgan
Swedburg. Client: AIGA
Toledo/BGSUGD.

Scorsone/ Scorsone/
Drueding: Drueding:
USA USA

Project: Poster for Haiti Project: CO2 emissions
Poster Project to raise awareness poster. Art
money for the earthquake Directors: Joe Scorsone,
victims. Art Directors: Joe Alice Drueding. Designers:
Scorsone, Alice Drueding. Joe Scorsone, Alice
Designers: Joe Scorsone, Drueding. Client: Good
Alice Drueding. Client: 50x70 Poster Competition.
The Haiti Poster Project.

Un Mundo Feliz: Kiku Obata Free-form: 164
Spain & Company: Type 165
USA
Project: Poster. Art
Directors: Sonia Díaz, Project: Dr. Scholl’s
Gabriel Martínez. Shoes Spring 2012 look
Designer: Gabriel look. Art Director: Kiku
Martínez. Client: The Obata. Designers: Amy
Haiti Poster Project. Knopf, Kristen Malone,
Paul Scherfling, Carlos
Zamora. Client: Dr.
Scholl’s Shoes.

344 Design:
USA

Project: 100 Days of
Monsters. Art Director:
Stefan G. Bucher. Client:
Peachpit/New Riders.

Free-form: 166
Type 167

Another Limited
Rebellion:
USA

Project: CD package for Project: Passion Project: JDUB logo. Art Project: The Play
Stew’s soundtrack for Coalition logo. Art Director: Noah Scalin. Company logo. Art
A Midsummer Night’s Director: Noah Scalin. Designer: Noah Scalin. Director: Noah Scalin.
Dream. Art Director: Designer: Noah Scalin. Client: JDUB. Designer: Noah Scalin.
Noah Scalin. Designer: Client: Epic Theatre Client: The Play
Noah Scalin. Client: Ensemble. Company.
Shakespeare on The
Sound.

Joe Miller’s Free-form: 168
Company: Type 169
USA

Project: Caesura
journal series.
Designer: Joe Miller.
Client: Poetry Center
San Jose.

Sophia
Georgopoulou:
Greece

Project: Synthesis
Center corporate
identity. Art Director:
Sophia Georgopoulou.
Designer: Sophia
Georgopoulou. Client:
Aneta Alexandridi.

Free-form: 170
Type 171

344 Design:
USA

Project: High Priority
Monsters, illustration.
Art Director: Rob Hewitt.
Designer: Stefan G.
Bucher. Client: New York
Magazine.

344 Design: 344 Design: Free-form: 172
USA USA Type 173

Project: I Found This Project: L A Weekly
Funny Poster. Art cover. Art Director:
Director: Stefan G. Stefan G. Bucher. Client:
Bucher. Client: 826la.org. L A Weekly.

Bruketa & Žinic´ :
Croatia

Project: Spam Jam.
Creative Directors:
Davor Bruketa, Nikola
Žinic´ . Art Director,
Designer, Illustrator:
Nebojša Cvetkovic´ .
Copywriter: Toncˇ i Klaric´ .
Client: Igrepa grupa.

Free-form: 174
Type 175

Steers McGillan
Eves Design:
UK

Project: Publicity
material for Bath
International Literature
Festival. Art Director:
Richard McGillan.
Designer: Dan Weeks.
Client: Bath Festivals.

Free-form: 176
Type 177

Imagine:
UK

Project: Cake Liberation
Front Identity. Art
Director: David Caunce.
Designer: David Caunce.
Client: Caroline Turner.

Free-form: 178
Type 179

A closer look Using a stencil font will always
create a fairly military or
Imagine: militant feel to the project, but
UK it’s softened here with the use
of more feminine colors.
This identity for the Cake
L iberation Front was created with a
rather tongue-in-cheek proletariat
protest movement vibe to it. It is kept
very much alive with a campaign of
messages that can be freely daubed
onto posters and walls (using
washable inks no doubt!).

Free-form: 180
Type 181

By spraying the graphics through
stencils, the free-form nature of this
work is really brought alive. Every
piece becomes unique, and the erosion
of the font along with overspill and
blurring help make it a very powerful
piece of free-form type.

Traditio
onal:Ty
ype
Chapter 5

Traditional
Retro
Classic
Old school
Ornate



New traditionalism:
Bethany Heck.

New
w traditio
onalism.
The decision to use “vintage” typefaces, Vintage designs are a celebration of their
techniques, and aesthetics can come times, their economies, and their
from a variety of motivations. Designers progress. They come loaded with history
tend to be collectors and lovers of and meaning and tend to be obtuse in the
informational miscellany and minutiae, way they go about their business. It is
and vintage type is the perfect outlet to refreshing to look at design that has such
express those carnal desires in an a clear voice when you are searching for
effective and acceptable way. the right direction in your own work. There
is a joy in historical design; A freedom to
use a dozen typefaces in one design, the
eccentricities of a typeface designed on
the fly by a worker in a wood type factory,
and the bold, straightforward language
used to sell a bottle of soda are all
cathartic to us now, free from the burdens
we can feel when doing our own work.
These pieces have a special sense of
emotion, evoking places and moods on
top of their visual aesthetics. Vintage
designs have reminded designers to take
risks, to mix more typefaces and break
more rules.

Traditional: 184
Type 185

It’s easier to separate yourself from The right selection of a historically inspired It’s refreshing to look at a physical object
historical design work than that of your typeface can bring your work an extra for a spark instead of a computer screen.
peers. The technology standards and layer of meaning and importance. Older Seeing something physical that’s still
conventions were vastly different than designs have an added weight to them, around decades after its creation is an
they are now, and it enables you to look at an importance and meaning that goes inspiration in a multitude of ways. It’s
the work objectively and closely study its beyond the formal aspects of the face design out of its original context, free from
formal attributes. The limitations of the that comes from decades of use and comparisons of whatever trends were
time often forced unique solutions for exposure. We can connect with a typeface popular at the time, once again fresh and
dealing with type and composition. Now without knowing why because it new. It’s also a reminder of the importance
that we are separated from the context of subliminally references the careful craft and longevity of design. Design can be
those earlier works, we can look on them of a sign painter or the stylized geometric timeless, cherished, and treasured, and
with our own set of tools, rules, and needs shapes of the Art Deco movement. that’s an exciting thing to remember.
and reconfigure them in fresh ways that I think there is more to looking to past
retain the charm of the original while designs than just seeking a spark of visual
fulfilling the needs of modern day. The stimulation. There is an element of
gaudy, superfluous typefaces of the reverence and respect tied to it as well.
Victorian period can be given new life By resurrecting a design element from the
when put in a controlled setting, and the past, you are honoring it and proving that it
surprisingly complicated composition on was a worthwhile endeavor in a way you
a baseball ticket from the 1930s can be hope your own work will be respected in
revived with careful typeface selections. the future.
The goal is not rote reproduction of
vintage designs; it is to reimagine them
in a new age.

Extra Credit
Projects:
USA

Project: Chow by the
Tracks P.O.P. poster
campaign. Art Director:
Joshua Best. Client:
Choo Choo Grill.

Fuszion: Traditional: 186
USA Type 187

Project: The Georgetown
French Market. Art
Directors: Rick Heffner,
Greg Spraker. Designer:
Dan Delli-Colli. Client:
Georgetown (DC)
Business Improvement
District.

I Love Dust:
UK

Project: I Love Dust meat
packaging promo. Art
Directors: Mark Graham,
Ben Beach. Designer:
I Love Dust. Client: I Love
Dust.

Traditional: 188
Type 189

A closer look

I Love Dust:
UK

This retro-styled meat
packaging was used by I L ove
Dust as the wrap for their
choice cuts self-promotional
brochure.

The brochure itself uses some
very retro type styling and
detail to great effect.

Traditional: 190
Type 191

The type was created in-house
and screen printed onto
newsprint to add authenticity.

The typography is really
detailed, right down to the
sticker holding down the
packaging.

Burnthebook:
UK

Project: Burnthebook
branding, a design that
references traditional
bookbinding and
publishing marks.
Art Director: Simon
Duckworth. Designer:
Bobbie Haslett. Client:
Self-promotion.

Traditional: 192
Type 193

Sensus Design
Factory Zagreb:
Croatia

Project: Dario Vlahovic
Architects, visual
identity. Art Director:
Nedjeljko Spoljar.
Designers: Nedjeljko
Spoljar, Kristina Spoljar.
Client: Dario Vlahovic
Architects.

Traditional: 194
Type 195

Foreign Policy
Design Group:
Singapore

Project: Branding & identity,
collateral design and
restaurant signage for
French restaurant, Cocotte.
Art Director: Yah-Leng Yu.
Designer: Yah-Leng Yu.
Design & Craft Production:
Tianyu Isaiah Zheng.
Photography: Michael Tan
(Mika Images). Client:
Cocotte.

Traditional: 196
Type 197

Thinkmule™: Project: 13 Jolly Souls. Project: Spirits of 76. Project: JibPig.
USA Designer: Thinkmule™. Designer: Thinkmule™. Designer: Thinkmule™.
Client: Thinkmule™.
Project: Oddlings logo. Client: Illiterate Gallery. Client: Indy Ink.
Designer: Thinkmule™.
Client: MOD Livin’.