We offer a range of learning options, from one day Masterclasses focused on handlettering skills to year long design programs.
The OSNS Typography Design Program focusses on Crafting Type. It is structured to empower students to bring their individuality into their design practice when they work by hand. This enables students to discover how traditional methods of hand lettering and penmanship transform their whole understanding of typography. We encourage our students to become creative catalysts for positive personal, professional and cultural transformation.
At Old School we are always producing a wide range of exciting projects in collaboration with students and industry professionals.
Old School New School for Design and Typography is a nonprofit practice-led experimental letter-craft laboratory and communication design studio that exists to inspire and educate rebels and dreamers, doers and makers who are seeking a unique education and collaboration in the typographic arts.
Come celebrate no more soggy cereal; that you can have cake for breakfast! In fact (if you understand how to create quality custom Type) you can and should have whatever you like for breakfast! This is the premise of the graduates (Fiona Lewis, Casey Schuurman, and Monique Morin, who are sharing their custom Type and Lettering created during their coursework at their upcoming 2016 Typography as Design and Culture Graduate Exhibition called "Cake For Breakfast". It's their personal celebration that they really understand how to design quality Type and Lettering, and soggy cereal (mediocre type) is a thing of their past. When? Friday June 3, 6.30 pm Where? OSNS Lettercraft Lab at Mercator Building, Abbotsford Convent.
Said student Casey Schuurman: "Type Type Type Type, I am even seeing type when I go to sleep at night, even in my dreams" It has definitely been an intense eight weeks, with students immersed in learning and honing their skills in many different calligraphic techniques for the early sessions of the program. Each class has commenced with half an hour of deliberate practice in a specific calligraphic hand, refining stroke evenness, spacing, and counter shape and learning how to critically evaluate letterforms. This deliberate practice with various techniques and drills regularly delivered to each student to help with individual issues has helped each student focus on refining their individual technique. Meaning that their calligraphy has improved very quickly.
The calligraphic technique has been used to teach students how to hand letter beautiful word marks in various hands, using pencil and overlay from the "photo lettering" technique that original letter artists of the nineteen fifties advertising world used, when titles and word marks were works of art. (before helvetica and the homogenity of modernism brought its unimaginative, lazy and uniform blandness into the world of type design). With this strong drawing basis, students learned quick and efficient bezier and vectoring techniques which made the creation of their first Typeface in Glyph relatively easy (compared to students who have never learned calligraphy, correct lettering technique, vectorising, or Type Design. It also helped them focus on applying hand drawn type to packaging projects with the goal of boosting the unique brand value of Tea, Gin and Beer.
The new difficulty at this stage for the students was essentially familiarisation with a new application, then alot of refining of their custom Typefaces with sidebearings, kerning, individual kerning pairs, and refining of detail and shape to create a cohesive visual system. If time permitted it would be nice to create another font with both uppre and lower case glyphs, however creating their first display custom typeface was a very empowering experience for the students. They all feel quite confident about the process, having worked through so many of the issues associated with creating a custom typeface.
They are all excited about the next phase of their professional journey as both Designers of Custom Typefaces and Lettering Artists. As practising Designers, their existing knowledge of Typography, how it works, and how to design effictively with Type has been the foundation for their learning journey, helping them to thing about appropriate application and placement of their Type and Lettering solutions.
I am excited to be sharing my knowledge and application of Slow Typography in New ...