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Hype Type Studio
www.hypetype.co.uk
Formed in 1999
by Paul Hutchison,
Hype Type Studio is
a multi-disciplinary
graphic design and
communications
agency with over
ten years experience
working closely with
local, national, and
international clients.
The firm has built a
reputation for producing
relevant, memorable,
and effective creative
solutions. Although
already well established,
Hype Type Studio
has decided to avoid
specialization and
keeps a wide range
of clients, so they can
keep creating a wide
range of projects. Their
extensive array ranges
from sleek editorial and
packaging designs for
corporate clients to
global identity and logo
creation. Nevertheless,
the smaller more
independent projects
retain the same cutting-
edge style and quality
whether t-shirt design,
illustration, or websites.
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391 Use grids. Break grids.
392 Special applications, print
techniques, and carefully chosen
stock will help to give your print work
a lift.
393 Spend time developing your
own promotional materials—they’re
important.
394 Invest in a good chair, you
are going to be in it a lot!
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400
Don’t let your clients’
budget restrict your
creativity.
395 Choose your suppliers
carefully. Outstanding quality and
service is essential.
396 Give your consultancy
and encourage feedback. Work in
collaboration with your clients.
397 Present your concepts well.
Back up your ideas by discussing your
thought process. Explain why your
chosen direction works.
398 When starting a project,
draft your ideas using a method you
are most comfortable with—sketch,
digital, etc.
399 Enjoy what you do.
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401
D
ESIGN A FONT. IT’S HARD BUT WORTH IT.
Creating a font takes a lot of time
and effort, not because it is hard to
use typeface software, but because
of the amount of tweaking involved.
Anyone with an experience of working
in illustrator can produce a typeface,
and it’s an impressive thing to include
in your portfolio.
402 DESIGNER TYPEFACES ARE OFTEN
POINTLESS, WHY NOT GIVE IT A PURPOSE?
Or base it off of something? I once
saw someone design a font around
neat handwriting. This personal
touch justifi ed it. Whatever it is, your
typeface should have a reason to exist.
403 T
HINK OF PLACE. Where will it
be used? Think long and hard about
the font’s purpose and where it will
be applied. Is it a header font or is
it for body text? If it is for both then
you may need to think about different
weights.
404 L
OOK AT EXAMPLES. Take notes
on what makes a typeface work, or
what gives it a specifi c tone. Also
make sure that what you’re aiming
for has not been done a million
times over. There is nothing wrong
with wanting to put your own stamp
alongside others, but you may fi nd
it diffi cult to best them. Also you’ll
get more recognition for something
unique.
405 R
EMEMBER, UNIQUE AND OBSCURE
ARE VERY DIFFERENT THINGS. Try and base
it either off of something meaningful
to you or give it a purpose in the real
world. Designing a typeface out of
nothing but semi-circles is falling
back into pointless territory.
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406 WHEN WORKING ON A FONT, SAVE
A NEW FILE EVERYDAY AND NAME IT BY DATE.
It is nice to show the development of
one project in your portfolio—make
that project your typeface. Seeing the
evolution of your font’s characters
communicates itself and displays the
effort that you have put in.
407 M
AKE SURE THAT YOU DISPLAY
YOUR FONT AS IT IS INTENDED TO BE USED.
Only laying out the characters may
look pretty, but it says nothing for
the font’s spacing or whether it is
successful in its application.
408 E
XPAND. If your font has been
designed with a specifi c application in
mind, now think about expanding on
this. Within reason could it break into
any other mediums? How would it look
on staff t-shirts for example?
409 R
ESTRAIN YOURSELF. List all of
your ideas on how the font can be
used and then pick one or two great
examples. Do not pick more than this
for the sake of adding easy work to
your portfolio. There is a fi ne line
between having an ambitious project
and milking the same idea. People will
notice when you are milking it and
will grow tired of it very quickly.
410 S
UBMIT YOUR WORK TO DESIGN
BLOGS. They are a great way to get
publicity and to make your font known.
While it’s a given that any design
work can be submitted to a blog, I
think fonts are much better received
because all designers need them.
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