The 2018–2019 season showcases the typeface Louvette, utilizing its range of optical sizes and weights, with the Italic Banner and Display used for the composer names and dates, down to the Text styles used for performer names, bios, and supplemental information. The concert program use of Louvette Deck for composer name, with song titles and movements set in Louvette Text. The opening concert poster, which features works by Huang Ruo, makes use of Source Han Serif for Huang’s name in Chinese, scaled to a smaller point size to harmonize with Louvette.

The programs for Carolyn Pennypacker Riggs’ performances were designed to serve as a poster on one side, announcing the performance, and a program on the reverse side, listing information such as the names and order of pieces performed, words and lyrics from selected pieces, and credits for performers, costumes, etc. The typesetting of the lyrics follows their performance, for example call and response pieces such as Who Do U Want 2 Love use different widths of text to indicate individual vs chorus lyrics. There in the Inbetween and A Journey That Wasn’t have songs which are sung in a loop so the words are typeset in an oval shape with no beginning and no end. And A Journey That Wasn’t additionally includes backwards text for lyrics which are sung backwards. The programs also include photography from the artist which relate to the specific, such as costumes, masks and sculptures used in the performances.

We developed a flexible identity system, using big bold typography in a playful way to showcase the composers around which the programs are built. The circular and diagonal forms move like melody and harmony, working as a counterpoint to the rhythmic gridded elements.

The logo mark is built of geometric shapes which get deconstructed and rearranged for each poster and application. For the printed materials such as posters, flyers, and programs, we use Pennypacker for big bold headlines, in both wide and compressed widths. The website uses Dunbar Low for its largest text. The very low x-height of this typeface gives it lots of vertical movement and an expressive, lyrical quality. For body copy and navigation Dunbar Text provides solid and complementary accompaniment.

I created a series of posters called “Pangram Pattern Poster Project” which are available at the Cooper Hewitt Design Museum Shop in conjunction with the museum’s “How Posters Work” exhibition. They are also available to purchase online via shop.cooperhewitt.org.

From their site:
The “Pangram Pattern Poster Project” by CJ Dunn illustrates a sampling of “pangrams” used for proofing typefaces throughout the design process. These hilarious phrases, although seemingly obscure and abstract, are a common sight for designers. Typographer, CJ Dunn has created a DaDa-esque poetry and visual pattern from some of his favorite pangrams, set in a chronological sampling of iconic sans serif typefaces.

After doing some brush lettering test, I refined the script with pencil before drawing the final vector art. I paired my script with D’amico Gothic from Photo Lettering which I found to be a perfect fit.

I first heard this quote from Ethan Nichtern, ID Project founder, and I’ve been a longtime fan of the ID Project, so I’m honored to be featured on the site. They have a wonderful Podcast as well as weekly gatherings in the East Village.

Thanks Ethan!

I especially enjoyed doing the hand lettering