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Certificate in Typeface Design



Basic Python Programming for Typeface Design
Typeface design has a long tradition of its practitioners creating their own custom tools to aid the design process. The Python programming language is the modern-day equivalent of a punch cutter’s counterpunch. Using Python allows the designer to focus more on the design of a typeface by automating repetitive tasks. In this workshop, students will gain a basic understanding of how to program in Python and how to use those skills in Robofont. In the first part of the workshop, Python and basic programming concepts will be introduced with the use of Drawbot, a Python environment created to teach designers programming. After the core concepts are introduced, the workshop will move to exploring how to apply them as part of the typeface design process in Robofont. At the end, students will have the skills to create their own digital counterpunches.

Required Materials
Students will need a laptop with a copy of DrawBot and Robofont installed. No prior programming experience is assumed.
 


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41 Cooper Square
101
18 - &up Kiel 3/30 - 3/31 Sa Su 10:00 AM - 05:00 PM $460.00 View

Freehand Lettering

The use of freely written letterforms is a sure-fire way to add charm and appeal to logotypes and wordmarks. The friendly tone and alluring rhythm of casual scripts—such as handwriting, signatures, and the like—add a personal touch to any variety of visual communication.

This workshop will provide an introduction to freehand lettering, with an emphasis on its use in branding, advertising, and editorial design. Practical skill-building drawing exercises —highlighting assorted writing tools and techniques— will guide participants as they transform pen-written studies into hand-lettered wordmarks.

Workshop presentations, demonstrations and materials will examine the fundamentals that contribute to the successful creation of hand-made letterforms. Individual one-on-one critiques will provide further guidance as students acquire a practical foundation for producing and implementing freehand lettering in various design contexts.

Required Materials

  • No.2 pencils (conventional or mechanical)
  •  pencil sharpener, if applicable
  •  eraser
  •  pad of tracing paper, at least 8.5" x 11"
  •  12" ruler
  •  Sharpie® Fine and Extra Fine marker
  •  adhesive tape for posting sketches
  •  Additional items will be supplied for an extra materials fee of $10, payable to the instructor at the beginning of the workshop

Please note that although participants may choose to focus on the manual exercises introduced during this workshop, comprehensive vector-drawing instruction will be covered. With that in mind, students are encouraged to bring a laptop with a licensed copy of Adobe Illustrator installed. 



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41 Cooper Square
101
18 - &up Barber 4/6 - 4/7 Sa Su 10:00 AM - 05:00 PM $460.00 View

Ghosts of Calligraphy & Type
Contemporary calligraphy is a combination of thought, touch, technique -- and inspiration. So, we’ll be exploring some of the specific, specialized techniques for making modern letterforms with flat pen, flat brush, pointed brush and ruling pen. At the same time, there will be a thorough and loving introduction to the work of my favorite 20th Century calligraphers and script type designers. The class workbooks will virtually be a massive gathering of their unusual letters, the writing and sketches that led to some of the most distinctive type of the 20th century, which will supply us with a forest of inspiration for using the moves that will be covered.

We’ll be concentrating on the flat pen and the unusual effects that occur as the pen loses contact with the paper, bounce, angularity, compression and new ways of dealing with terminals, but will also squeeze in time with the flat brush and the incredible control and texture it offers. Then comes the pointed brush, the most fluid and expressive of tools, and we’ll focus on how to make pointed brush lettering LOOK like its tool and unlike any other writing, from perpendicular strokes to the swelling feather-shaped beauty of parallel strokes. Finally, a quick look at the ruling pen’s whole reason for writing, which is also about subtle paper contact, but approaches the paper with an attitude like a pointed brush. All of these techniques can be used to understand the road our inspirations used to get to their unique work.

We will be interpreting and stealing from the following gentlemen -- Ray DaBoll, Walter Brudi, Roger Excoffon, Albert Kapr, Rudolf Koch, Alfred Linz, Oldrich Menhart, Herbert Post, Helmut Salden, George Salter, Ernst Schneidler, Villu Toots, Georg Trump, Axel Bertram and more. Most of them were type designers, most of them were teachers, all of them were calligraphers of startling originality. Take it from someone who loves to be startled. These men came up with new ways of using hands centuries-old as well as their own completely original styles that have been hiding from you for 50 years and more -- some that retain the marvelous feeling of their time and some that look as fresh as today. We’ll combine things we like from their work with those modern calligraphy moves to expand our own repertoire of styles and flavor, and help us find our own unique paths to our writing and ultimately, perhaps to our own unique typefaces. What we want to do is use some of the most original and powerful writing from the nooks and crannies of the twentieth century to help us to discover our own vision and style in the twenty-first.

Required Materials
$20 cash, payable to the instructor who will have a 150+ page instructional book to guide you through class and beyond
Pilot Parallel Pen, 6mm size (blue cap) OR a folded brass pen, 1/4", 5/16” or 3/8”: Horizon (from PaperInkArts.com) or similar, plus any other pens you already have
Flat brush, 1/2” W&N 995, plus any other brushes you already have
A Pentel Color Brush, plus any other brushes you want to try or already have — Winsor & Newton Series 7 or similar brush (Asian, Lebenzon, etc.)
Optional: any kind of ruling pen
Non-waterproof ink
A tube or two of gouache
Large paper with a bit of texture — Strathmore Charcoal 300 Series (yellow cover) is great for pen and brush.
Optional: Graphic white-out (Pro–White or Dr. Martin's Bleedproof White) &/or light or bright colors of gouache and colored paper if you wish to write in reverse: Canson, Ingres or other laid surface charcoal suggested.
Pencil and/or colored pencils (Prismacolors are the best)
Ruler, any kind of flat palette, small water jar, and a rag or paper towels



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41 Cooper Square
101
18 - &up Rohrs 3/2 - 3/3 Sa Su 10:00 AM - 05:00 PM $460.00 View

Introduction to Lettering
Lettering has become an increasingly marketable, if not essential, skill for artists working in design and advertising. The warmth and personality of hand-drawn letterforms can hardly be matched by off-the-shelf fonts. In this workshop, attendees will learn how to get the most out of lettering in a variety of applications.

Participants will begin by gaining a solid basis in the main principles that make for successful lettering. Referring to familiar typographic models and helpful specimens, students will then learn how to customize letterforms as they draw their own logos and wordmarks. Comprehensive slide presentations, informative sketching demonstrations, skill-building exercises, professional case studies, and valuable one-on-one critiques will provide further guidance as attendees acquire a practical foundation for implementing one-of-a-kind lettering in numerous design contexts.

Instruction will focus on developing fundamental hand skills, primarily by means of manual pencil-drawing techniques. Open to students of all skill levels.

Required Materials:
• No.2 pencils (conventional or mechanical)
• pencil sharpener (if applicable)
• erasers (conventional and kneaded)
• pad of tracing paper (9″×12″ pad is recommended)
• pad of quadrille 4×4 grid/graph paper (9″×12″ pad, 4 squares per linear inch is recommended)
• 12 inch ruler
• Sharpie® Fine and Extra Fine markers
• white-out correction fluid pen
• adhesive tape (for posting sketches)


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41 Cooper Square
101
18 - &up Barber 3/23 - 3/24 Sa Su 10:00 AM - 05:00 PM $460.00 View

Letter Anatomy: Italics & Scripts

Italic letter styles and script letter styles enjoy a special relationship. They both come from written forms. Italic printing types were first used in the late fifteenth century, but script typefaces are much younger. One reason for that difference is technical. Italic letters typically do not connect, whereas script letters normally do connect.

This workshop will help students understand letter-construction principles and learn the proper ways of connecting script letters.

Italics are favored for their versatility. They can be slanted or upright, serif or sans serif, and employed line after line, for continuous reading. Plus, they can be used for headings.

Script styles can also be slanted or upright, but they are basically sans serif forms, limited to a few words, at most. Unlike italics, which can be interspersed in text, words in script stand apart. They also relate directly to longhand writing.

John will teach three approaches to rendering readable italics and scripts: pencil, pen, and brush. No calligraphy or brush lettering experience is necessary.

Required Materials

  • pencil
  • eraser
  • ruler
  • layout pad
  • scissors
  • glue stick
  • scotch tape
  • a material fee, payable to the instructor on the first day, of $20 will cover the cost of supplies that will be provided


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41 Cooper Square
101
18 - &up Downer 5/4 - 5/5 Sa Su 10:00 AM - 05:00 PM $460.00 View

Movable Type: Animation for Typographers
Motion plays an increasingly pivotal role in graphic design, from UI ineractions to logo animations to full-scale motion graphics sequences, but it can be intimidating to designers whose experience is primarily in static, type-focused disciplines.

In this 10-week course, you’ll learn the basics of Adobe After Effects as well as the fundamental principles of animation and its effect on design, typography, and meaning. Through a series of lectures and hands-on projects, you’ll learn techniques for making your static compositions come to life—how to craft motion styles, how to fine-tune timing, how to tell a story through cause and effect—as well as an overview of After Effects’ arsenal of type-based effects. You’ll leave with a generous foundation in a wickedly fun new discipline, making motion a fundamental addition to your toolkit.

Required Materials:
Laptop with Adobe After Effects CC CC 2015 or later, as well as Illustrator and/or Photoshop


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41 Cooper Square
506
18 - &up TBD 2/6 - 4/10 We 06:30 PM - 09:30 PM $960.00 View

Movable Type: Animation for Typographers Workshop
Motion plays an increasingly pivotal role in graphic design, from UI demos to logo animations to full-scale motion graphics sequences, but it can be intimidating to designers whose experience is primarily in static, type-focused disciplines.

In this 2-day crash course, you’ll learn the basics of Adobe After Effects as well as simple animation principles and their effect on typography and meaning. Through a series of lectures and hands-on projects, you’ll learn techniques for making your static compositions come to life—how to craft motion styles, how to fine-tune timing, how to tell a story through cause and effect—as well as an overview of After Effects’ arsenal of type-based effects. You’ll leave with a generous foundation in a wickedly fun new discipline, making motion a fundamental addition to your typographic toolkit.

Required Materials
Laptop with Adobe After Effects and Illustrator CC 2015 or later
An mp3 of a favorite song (with lyrics)


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Cancelled
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18 - &up TBD TBD TBD TBD $460.00 View

NYC Extended Program Tuition

Students interested in the Certificate in Typeface Design Program must apply and be accepted in order to attend the program. Please visit coopertype.org  to view application requirements.



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41 Cooper Square
105
18 - &up Famira 2/4 - 4/9 Mo Tu 06:30 PM - 09:30 PM $2,485.00 View