InkTrap

Tag: 2026

  • ABC Otto

    ABC Otto

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    by

    Pedro Amado
    in ,

    Student: Rafaela Ribeiro Typeface: ABC Otto(2024) Classification (R-Vox): Transitional Serif (Baroque / “Dutch Taste”) [Contemporary / Neo Humanis Serif?] Archetype: Miklós Kis types / Baskerville Main Features Highlighted by Student: Designed by Sam de Groot and Laura Opsomer Mironov as a proudly ahistorical text face with an anthropomorphic, cartoonish display presence. The analysis maps short…

  • Basteleur

    Basteleur

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    by

    Pedro Amado
    in ,

    Student: Inês V. Teixeira Typeface: Basteleur (2021) Classification (R-Vox): Classical / Oldstyle / Garalde Hybrid / Contemporary Humanist Archetype: Garamond inflected with medieval scripts and Cooper Black softness Main Features Highlighted by Student: Designed by Axel Keussel around the theme of the Tarot de Marseille. The analysis identifies a drastic structural duality between its two…

  • Helvetica

    Helvetica

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    by

    Pedro Amado
    in ,

    Student: Andreia Catarina Monteiro da Silva Typeface: Helvetica (1957) Classification (R-Vox / Vox-ATypI): Lineale / Neo-Grotesque Transitional Archetype: Akzidenz-Grotesk Main Features Highlighted by Student: Designed by Max Miedinger and Eduard Hoffmann to fulfill post-war demands for clear, objective international communication. The analysis focuses on its strict horizontal stroke cuts, single-story a and g, near-monolinear contrast,…

  • EK Roumald

    EK Roumald

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    by

    Pedro Amado
    in ,

    Student: Marta Cabral Typeface: EK Roumald (2022–2023) Classification (R-Vox): Transicional / Modern Serif (Scotch Roman) Archetype: Scotch Roman (1813) and Century (c. 1900) Main Features Highlighted by Student: Erkin Karamemet’s display face mimics the mechanical heritage of the Benton Pantograph by translating it onto contemporary CNC router tool-paths. The student emphasizes the vertical axis, high…

  • Trump Mediaeval

    Trump Mediaeval

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    by

    Pedro Amado
    in ,

    Student: Leonor Carvalho Typeface: Trump Mediaeval / Trump Mediäval (1954) Classification (R-Vox): Serifada Humanista / Old Style Archetype: Classic Garamond lineage with Venetian-inspired modern structure Main Features Highlighted by Student: Created by Georg Trump in post-war Germany for metal composition, seeking an editorial balance between tradition and modern reading habits. The analysis details its wedge-like…

  • Cooper

    Cooper

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    by

    Pedro Amado
    in ,

    Student: Inês Pinheiro da Silva Typeface: Cooper Classification (Vox-ATypI): Garalde / Serif Display Archetype: Cooper Oldstyle (Oswald Bruce Cooper, 1922) Main Features Highlighted by Student: A precise digital variable revival by Owen Earl translating analog forms into modern weights. The analysis identifies heavy, asymmetrical serifs, oblique axes, circular joins, and generous counter apertures. It tracks…

  • Filosofia

    Filosofia

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    by

    Pedro Amado
    in ,

    Student: Anabela Nunes Typeface: Filosofia Classification (R-Vox): Serif Modern Archetype: Bodoni Main Features Highlighted by Student: Designed by Zuzana Licko for Emigre as a contemporary interpretation of Bodoni. Licko worked from memory rather than specific blueprints, retaining the original’s geometric symmetry and vertical axis while reducing vertical contrast to improve text readability. The student highlights…

  • Sabon

    Sabon

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    by

    Pedro Amado
    in ,

    Student: Ana Rita Ribeiro Typeface: Sabon Classification (Vox-ATypI): Serif – Old Style / Garalde Archetype: Renaissance model inspired by Claude Garamond (16th century) Main Features Highlighted by Student: Designed by Jan Tschichold in the 1960s to perform identically across three distinct printing technologies (Linotype, Monotype, and manual metal composition) to unify book and text editorial…

  • 2026 Case Study and Morphological Analysis

    2026 Case Study and Morphological Analysis

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    by

    Pedro Amado
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    Following an extensive introductory overview of typographic history and the evolution of letterforms over the last 500 years, the Course Exercise 1 initiates the curriculum by requiring students to conduct a comprehensive morphological and structural analysis of a typeface of their choosing. The analytical framework demands a structured layout—typically utilizing a visual illustration on the…