Typography Luke Lucas

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Ray-Ban – Smooth as Velvet: Commissioned to create a 2 colour poster artwork in a variety of colour ways that could be screen printed for a launch event in NY for Ray-Ban velvet textured glasses. The brief was relatively open other than the lettering needed to say Smooth as Velvet and needed to incorporate the Ray-Ban Erika frame in the artwork.

Nike – Free 5.0: Commissioned by Nike GBI to develop a lettering concept for use in promotional material related to the global release of the running shoe Nike Free 5.0. The brief was to explore how the behaviour of the shoe’s uniquely flexible sole could be expressed through a headline typeface (other than Nike’s typical Futura Condensed Bold).

As a base for my treatment I suggested that we manipulate a heavier weight italic version of the typeface Sansa (created by the dutch foundry Our Type) and introduce the shoe’s sole behaviour into the curvature of the letters.

Cover – Eurovision Song Contest Dress Up Sticker Book: Commissioned to create the book cover for the Eurovision Song Contest Dress Up Sticker Book. The brief was to be Euro trashy disco inspired. Finished printed artwork included laser foil detailing in the Eurovision Logo and disco ball graphic.

Summa Dayze Music Festival ID
ID/logo design for the Australian New Years day music festival and right of passage Summadayze. The ID pays homage to the previous logo’s psychedelic roots and was designed to work in with an ice cream theme.

Big Mouth Project
Big Mouth Project is a collaborative art initiative run by Lifelounge on behalf of the Victorian government organisation Work Safe, that invites select artist to respond to a brief that relates to speaking up in the workplace to avoid harm or injury.

The project really lent itself towards quite an expressive and playful logo treatment

Crust – Slice of Type
The brief for the above artwork commission was to arrange some playful illustrative vector type ingredients in the shape of a pizza slice to be used in an outdoor ad shell campaign for Crust Pizza.










This British born typography artist and designer is extremely talented when it comes to creating attention-grabbing letterforms. He uses an extensive range of media and equipment, generating stunning outcomes and effects. One of his most ambitious pieces is titled ‘You Blow Me Away’ which he collaborated with kinetic still-life photographer Jason Tozer to create. With the type screen printed onto sheets of glass, they fired various objects through them and photographed the scenes at various stages. The results were both unique and incredible.

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The idea behind the execution was, well, ideas… And in particular, Adobe and the Creative Cloud as a facilitator of these ideas. The lightbulb has long been a visual expression of inspiration, and the Adobe Creative Cloud represents a coming together of countless creative minds. Inspired by this, I created a 1700cu/ft installation of the Adobe logo, suspended in a three dimensional space using hundreds of suspended lightbulbs and anamorphic perspective – meaning the Adobe logo is only visible from one specific viewpoint.

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Ward is also well known for his piece titled ‘Bad Typography Is Everywhere’ which highlights in a visually clever way the fact that the world is so full of bad typography that people often don’t notice the good.

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This image was made using cuttings of hair from a hairdressers when Craig had gone to get his hair cut and saw what resembled the letter C on the floor.

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 For this typography image he used an image of an eye and traced it with the text path. He took the colours from the reference image and applied them to the text. Ward used “I see you” to emphasise the fact that it is an eye looking at you. He then added detail using the brush tool

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(RED) Negative Beats Positive

Craig Ward created this image and accompanying video with Ian Wright in to promote the work of AIDS charity (RED) for World AIDS Day this year.
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Giambattista Bodoni

Born in 1740, Giambattista Bodoni was an Italian printer who designed several modern typefaces, one of which bears his name and is in common use today. Bodoni was the most successful early proponent of what is referred to as the Modern typeface, distinguished by a strong contrast between the thin and thick strokes, and vertical, rather than oblique, shading. In his time holding the title ‘designer to the kings and king of designers’, Bodoni did away with old-style letters and introduced a new clear simple type. The roman letter he cut in 1798 is usually what we mean by a Bodoni.
Bodoni at first employed old-style typefaces with much decorative detail. He was gradually won over to the typographical theories of a French printer, Pierre Didot and by 1787 was printing pages almost devoid of decoration and containing modern typefaces of his own design. Of the many books that he produced during this period, the best known is his Manuale Tipografico, translated to “Inventory of Types” a folio collection of 291 roman and italic typefaces.
Around 1800, Giambattista Bodoni developed a completely new kind of type which refrained from decorative and calligraphy styles and was conceived solely on the criteria of symmetry and proportionality. In this way, the classical font “Bodoni” emerged, a masterpiece of typography, which would be used untold times by other typesetters. His type was characterised by a severe simplicity. In his influential Manuale Tipografico he laid down the four principles of type design “from which all beauty would seem to proceed”, which were: regularity, cleanness, good taste, and charm.
Besides being the logotype for high end fashion labels, Bodoni is also used in fashion magazine spreads, magazine covers and posters, due to its pleasant aesthetics when set in bigger sizes.
The Bodoni romans and italics have been extensively copied and have become an essential part of today’s typographic equipment, setting the stage in marking the end of calligraphy and the start of refined, cultured and structured printing. Indeed, Giambattista Bodoni meant for his typefaces to be seen as well as read, and his efforts were meant to be appreciated as works of art alongside being communicative. Perhaps the indicator of success would be the fact that during the age of metal type every serious foundry had its own adaptation of Bodoni. Today, there is a wide range of Bodoni adaptations, each with its own distinctive flavour.








Kris Holmes typography 2

Kris holmes is a graphic designer specialising in typeface design, she studied calligraphy and type design with Herman Zapf and typeface design with Ed Benguiat,she has designed the following fonts.

Lucida Grande

Lucida Sans

Lucida Console

Lucida Bright

Lucida Handwriting

Lucida Calligraphy

Lucida Casual

Apple New York









One of her most recognisable fonts is the lucida series.

Lucida was first shown at a meeting of the Association Typographique Internationale (ATypI) in London, September 1984, in the form of a type specimen booklet from the Imagen Corporation, a Silicon Valley laser printer manufacturer –Today, new, original typefaces are released every day, so it may be hard to believe that three decades ago, there were nearly none. As typography shifted from analog to digital technology in the 1970s and 1980s, typefaces for digital typesetters and printers were, with very few exceptions, digitizations of existing typeface from the previous eras of metal or photo-typography. 2014 is the 30th anniversary of the first showing of Lucida, the first family of original, digital typefaces for laser printing and screen displays .

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The x-height of Lucida Grande, Lucida Sans, and all other Lucida fonts is large, approximately 53% of the body size. Lucida’s large x-height has two functions that help it adapt to reading on screens and printing on modest resolution devices. First, a big x-height makes the typeface appear perceptually bigger, aiding legibility when text is viewed at greater than average reading distances or at small sizes, or both. Text on monitors was read at distances 50% greater than on paper, according to ergonomic recommendations of the 1980s. Second, the big x-height provides more pixels for better definition of features in the x-height region, which typically carries more information than ascenders and descenders, thus helping distinguish letter shapes for better recognition.

She is interested in increasing the legibility of her typefaces and has been working on some that are easier for people with dyslexia .







Carol Twombly – Typography

Typographers , text freaks, font fanatics, call them what you want. Tonight I sat down to complete a project about  Typographers. I hastily chose a “subject”  around a week ago from the long list of potential typographers to complete my research notes.
The briefing details were quite simply to pick a person from the list and to script an editorial piece, a show and tell about this person. To begin  I could find the list of typographers posted on the team blog.

carol twombly
Carol Twombly at Adobe Systems

I chose Carol Twombly, for no particular reason, I mean, it’s not likely a topic for me ever to be interested in again, right? that was until I began to research more about the amazing career of Carol Twombly.

Carol Twombly had been initially inspired to become an artist of difference, a sculpture by hand being her first studies and later on she had changed to graphic design.  She graduated from Rhode Island School of Design and moved to Stanford University. Carol Twombly made it into the top five graduates to have Masters of science degrees in computer science and typography design.

Carol Twombly List of Typefaces

While working at Adobe Systems from 1988-1999 Carol Twombly designed and contributed to the design of, many typefaces for example: Trajan, Myriad and Adobe Caslon.  Trajan is highly respected within the typographers and graphic designers industry as being one of the best.

Adobe Caslon
Adobe Caslon

Her first international type design competition, Carol Twombly received an award for, “Morisawa gold prize 1984. In 1994  she was the winner of the Prix Charles Peignot, given by the Association Typographique Internationale (Atypl)” The first women, and second American citizen to receive such an award as a promising typeface designer under the age of 35yrs.

TV Show popularised Typeface by Carol Twombly
TV Show popularised Typeface by Carol Twombly

Her real achievement personally was to register and trademark 40 designs within her limited time career.  Some of these became international success and popularised by many multi media and television studios.






Typical Typefaces created by Twombly.

Adobe Caslon (1990)
Californian FB (roman only)
Chaparral (1997)
Charlemagne (1989)
Lithos (1989)
• Mirarae (1984)
• Myriad (1991, designed with Robert Slimbach)
• Nueva (1994)
• Pepperwood (1993)
• Rosewood (1993)
Trajan (1989)
• Viva (1993)
• Zebrawood (1993)

Twombly had a specialised interest and created many of her typeface fonts inspired by and named after woods and trees were part of an Adobe project to revive American display typefaces from the nineteenth century that had been engraved in wood.


Interestingly, Twombly left the industry around 2014 explaining her reasons for this decision included a lack of interest in designing fonts, also for the failure of Adobe multi master font technology.