Design School Confidential

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project brief

Design a new display typeface based on an ex-

isting typeface. Expand the formal language of

this new typeface into a visual system that en-

compasses the underlying ideas and objectives.

Create a brand using the microcosm of forms

and ideas already designed.

project goal

How a graphic designer becomes a god: Over the

course of some years, Goddur’s class has been

experimenting with an exercise in identity cre-

ation based on form by making a display type-

face the starting point for holistic graphic design.

The idea is to research an existing typeface and

its context (visually, theoretically, socially, and

historically) and its author and the author’s back-

ground, then create a contemporary display type-

face based on the outcome of the research. The

new typeface becomes the basis for identity cre-

ation for an entity such as a company, ideology,

or anything it can fully communicate in a con-

temporary manner. This is then explored further

in branding exercises, but without the restraints

of commercial concerns. So the experiment be-

comes an exercise where function follows form.

The designer becomes god, and creation is his

sole objective. The designer is then free to design

a microcosm to suit his ideas.

project outcome

Based on their research, the students have made

typefaces that have evolved into their own

visual vocabularies and translated the formal

language of the typeface into comprehensive

and contemporary identity projects. We see a

strong current of type design based on an un-

derlying system—the grid. There are also many

designs based on modular systems. This is an

interesting development because our visual

heritage is based mostly on two elements: the

written word (literature and handwritten, illu-

minated scripts) and embroidery, knitting, and

needlework. These are, of course, closely related

to the grid. Iceland is young and therefore it is

critical at this point to explore and expand our

visual identity as a whole—but do so based on

our legacy.

17

Class: Forms and Ideas 1

Level: Third (Final) Year

Faculty: Goddur

Duration of Project: Eight Weeks

Iceland Academy of the Arts

Reykjavik, Iceland

The Formal Language of a Display Typeface

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Everything Typeface

Student: Helgi Pall Einarsson

This is a modular typeface

designed to be assembled

at random by a computer.

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Î

SEXKANT Typeface

Student: Daniel Claus Reuter

The vision of the SEXKANT

typeface is to create a better

everyday life for many people.

We make this possible by of-

fering a wide range of well-

designed, functional letters

at prices so low that as many

people as possible will be able

to afford them.

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Morthens Typeface

Student: Jonas Valtysson

I decided to use a script type-

face called Vitrina by Pablo

Medina. I chose it because I

liked the method Pablo used

to create it. He takes pictures

of his urban surroundings and

bases his design on them.

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Grindavík Typeface

Student: Sveinn Davidsson

Grindavík is a monospaced

typeface that comes in three

weights. It was inspired by

Wim Crouwel’s type design,

Futhark runes, and older co-

mae forms.

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Basic Typeface

Student: Ragnar Freyr Palsson

This is an attempt to make the simplest typeface using only the

basic forms. The result is minimal yet very loud. Funnily enough,

this typeface is based on Franklin Gothic.

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Dingleballs Typeface

Student: Birna Geirfi nnsdottir

I created this font after researching Paul Renner’s Futura.

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Snidagrind and Kogra

Typefaces

Student: Siggi Oddsson

Snidagrind is inspired by

Stephan Muller’s Gateway.

It mimics the modular grid

of the typeface, while being

much more complex and or-

ganic. It comes in two types,

A and B, and within each type

is a version for both small and

large sizes. Kogra was inspired

by fractals and is intended for

use in large sizes.

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Veekend, Father,

and Abkur Typefaces

Student: Geir Helgi Birgisson

the projects 91

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