Type as Image

SPRING 2026
Professor Mary Banas
SMFA at Tufts

Email: When contacting me, use both my Tufts email and my Gmail

Office Hours: Fridays from 12–1pm, on zoom, or by appointment

Make an appointment for office hours:
https://calendar.app.google/fjv8YceUnWXn5AJj8
please book this by 8am on Fridays.

Graphic Arts Area Instagram
Permissions doc for GRA IG is here


Syllabus:

01 Description
02 Learning Outcomes
03 Assignments
04 How We Work
05 Studio Culture
Tufts University Policies
Calendar
Readings
Tutorials (how to print!)

Review Boards: Advice
Events
Project Briefs:

Weekly Typography Collection
Alphabet Book
FrankenForm
Patterns of Ten
Typographic Poster
Sequence

Submit work:

Google Drive


00

Weekly Typography Collection



Weekly Typography Collection:


An ongoing project throughout the semester where you will build a focused collection of typographic examples, documenting and organizing them on Are.na. This collection will help you start to hone your own interests in typographic form and meaning. 

1–Project Description

Throughout this semester, you will develop a practice of looking closely at typography in the world and in archives. Rather than passively scrolling through images, you will actively curate a focused collection that demonstrates your ability to observe, identify, and analyze typographic forms.

Your collection will live on Are.na, a visual research platform where you can gather, organize, and share your findings. By the end of the semester, your channel will serve as a rich resource—both for your own design practice and as evidence of your growing typographic literacy.


2–Choose the Focus of Your Collection

Select ONE of the following collection themes to pursue throughout the semester. Your choice should reflect something you're genuinely curious about:

Historical/Stylistic Collections:

  • Art Deco typography (1920s-1940s posters, advertisements, signage)
  • Psychedelic letterforms (1960s-70s concert posters, album covers)
  • Constructivist typography (Russian avant-garde, 1920s-30s)
  • Victorian ornamental type (19th century advertising, packaging)
  • Swiss International Style (1950s-70s rational, grid-based design)
  • Grunge typography (1990s deconstructed, layered aesthetics)
  • Brutalist web typography (contemporary raw, functional design)

Contextual Collections:

  • Movie title cards (opening credits across different eras or genres)
  • Book cover typography (specific genre: sci-fi, mystery, romance, etc.)
  • Vintage food packaging (cereal boxes, candy wrappers, etc.)
  • Protest sign lettering (historical movements)
  • Hand-painted storefront signs (specific region or time period)
  • Record label typography (Blue Note, Motown, Factory Records, etc.)
  • Magazine mastheads (fashion, news, culture publications)
  • Sports team logos and wordmarks (evolution over time)
  • Public transit signage systems (wayfinding typography)

Technical Collections:

  • Blackletter variations across different countries/eras
  • Script and cursive styles (formal vs. casual)
  • Stencil letterforms (military, shipping, street art)
  • Monospaced typefaces in different contexts
  • Display types with inline details (striped, outlined, shadowed)
  • Condensed vs. extended type families

You may propose your own collection focus if you have a specific interest not listed above. It must be approved by Mary by Week 2.

3–Quantity & Frequency:

  • Add at least 5-7 examples per week to your Are.na channel
  • By the end of the semester, you should have at least 50 examples minimum


4–Quality Standards:

Each item you collect must include:
  1. High-quality image (clear, well-lit, properly cropped)

  2. Source citation including:
    • Where you found it (archive name, website, museum, etc.)
    • Original source if known (designer, publication, date)
    • Direct link to the original source when available

  3. Brief description (2-3 sentences) noting:
    • What drew you to this example
    • Specific typographic qualities you observe (weight, style, spacing, etc.)
    • Historical or cultural context when relevant

5–Approved Sources:

You should primarily collect from legitimate archives and collections, like the following:

Major Typography Archives:

Museum & Library Collections:

Publications:

For Contemporary Work:
  • Designer portfolios and studio websites
  • Other design publications (Print, Baseline magazines)
  • Foundry specimen books and websites

Physical Documentation: You may also photograph typography you encounter in the world (signs, packaging, etc.), these should be:
  • Clearly photographed with good lighting
  • Properly documented with location and date
  • Researched for historical context when possible


6–How to Use Are.na

Setting Up Your Account:

  1. Go to are.na
  2. Sign up for a free account
  3. Choose a username
  4. Complete your profile with your name and a brief bio

Creating Your Collection Channel:

  1. Click the "+" button in the top right corner
  2. Select "New Channel"
  3. Name your channel clearly:
    • Format: "Your Name - Collection Focus"
    • Example: "Sarah Chen - Art Deco Typography" or "Marcus Williams - Movie Title Cards"
  4. Write a channel description explaining your collection focus and goals
  5. Keep your channel Public so it can be viewed and graded

Adding Content to Your Channel:

Method 1: Using the Are.na Extension (Recommended)
  1. Install the Are.na browser extension for Chrome or Firefox
  2. When you find an image online, click the extension icon
  3. Select your collection channel
  4. Add a title and description with source information

Method 2: Manual Upload
  1. Save image to your computer (right-click > Save Image As)
  2. In your Are.na channel, click "Add block"
  3. Select "Upload" and choose your image
  4. Add title, description, and source link

Method 3: Link/Embed
  1. In your channel, click "Add block"
  2. Select "Link" and paste the URL
  3. Are.na will automatically pull in the image and information
  4. Add additional context in the description

Organizing Your Collection:

  • Add descriptive titles to each block
  • Use the description field for your observations and citations
  • Tag related items using connections (link blocks that share qualities)
  • Consider creating sub-channels if your collection develops distinct categories
  • You can drag blocks to reorder them as your thinking evolves

Citation Format:

For each item, include in the description:

Source: [Archive/Website Name]

Original: [Designer Name, Publication/Context, Year]

Link: [Direct URL]

[Your 2-3 sentence observation about the typography]


Example:

Source: Letterform Archive

Original: Herb Lubalin, Avant Garde Magazine logo, 1968

Link: https://letterformarchive.org/...

The interlocking ligatures create a compact, futuristic wordmark that perfectly captured the magazine's progressive spirit. The tight letterspacing and geometric forms reflect the modernist enthusiasm of the late 1960s.



7–Evaluation Criteria:
Your collection will be evaluated on:



Consistency (30%)



    

  • Regular weekly additions throughout the semester
    • 

  • Meeting minimum quantity requirements
    • 



Quality of Curation (30%)



    

  • Thoughtful selection of examples that demonstrate understanding of your chosen focus
    • 

  • Clear visual relationships between items
    • 

  • Progression of your eye and understanding over time
    • 



Documentation (25%)



    

  • Proper source citations for all items
    • 

  • Thoughtful observations in descriptions
    • 

  • High-quality images
    • 



Visual Literacy (15%)



    

  • Ability to identify and articulate typographic qualities
    • 

  • Understanding of historical/cultural context
    • 

  • Development of a critical eye
    

    

    • 



8–Important Dates


    

  • Week 1: Assignment introduction, Are.na tutorial

    • 

  • Week 2: Collection focus selected and approved; first 5 examples uploaded

    • 

  • Week 4: Check-in (should have 15 examples)

    • 

  • Week 7: Check-in (should have 30 examples)

    • 

  • Week 10: Collection complete (50 examples minimum)
    




9–Tips for Success


    

  • Be consistent: Set aside 30-60 minutes each week to add to your collection
    

    

    • 

  • Go deep, not wide: A focused collection with thoughtful observations is better than a scattered one
    

    

    • 

  • Follow connections: When you find one great example, look for related work
    

    

    • 

  • Read the descriptions: Many archives include excellent historical context
    

    

    • 

  • Save everything: If something catches your eye, save it—you can always remove it later
    

    

    • 

  • Look for relationships: How do examples relate to each other? What patterns emerge?
    

    

    • 

  • Be curious: Let your collection guide you toward new discoveries and make a note of what you are curious about
    

    

    • 



Questions?
Ask questions in class or bring them to office hours. 




Share your Are.na channel link in the class Google Doc by Week 2.



01
Alphabet Book

Alphabet Book:


A series of experimental, rapidly-created letterforms created by hand using paper, cell phone camera, scanners, as well as found materials from your environment resulting in a collaborative class book made using the RISO printer and bound with an elastic band.








Project Description




































We are starting with a mini experiment that will cover a lot of ground and get you warmed up for the semester. It will also be incredibly fun.

Part 1: PAPER EXPERIMENTS
Print your letters from the PDF below. They are “bold Helvetica” Manipulate these letterforms to create new images. Print out your own letters on pages and make more. Enjoy yourself, have fun, “lean in” to the process of manipulating the paper. 

Part 2: FOUND OBJECT EXPERIMENTS
Create new letterforms from found materials. For example, you can make them out of tape, ground meat, dirt, other natural objects, your hands, shadows, your hair, candy, shaving cream, sticks, photograph or make a rubbing of a crack in the sidewalk that looks like an “Y”... ETC.



Part 3: CREATE 11x17 COMPOSITIONS IN INDESIGN

Photograph or scan your letters, both paper experiments and found objects. Bring them into the computer. Bump up the contrast as needed in Photoshop. Edit as much or little as desired. Use repetition, scale, and rotation to make interesting compositions. One letter per composition (for example, the letter “M” not the letters “M” and “P” in the same composition. We will be able to layer them on top of each other next week on the RISO.

Requirements:
—only work in black and white (includes graphite/pencil)
—create 20 new “letterforms” or compositions
—*avoid* large areas of smooth rich black, the RISO printer works better with a little texture 



Bring to class:

—A PDF of your 20 compositions in Google Drive

—Print out your favorite compositions on 11x17 paper (before class)



You do not need to print them all out, but you can.






How to do this work:




Get the ability to print
:
Link for printing on Jumbo from the web:

jumboprint.tufts.edu/MyPrintCenter
Download Jumbo print drivers here




Part 1 (started in class)


1. Print your letters out, 5-10 of each letter depending on how you work 



PDF of Alphabet is here  only print the pages you need, i.e. letter “M”





2. Go crazy experimenting on this paper:


Consider the following ways:
—cut
—tear
—slice
—fold
—crumple gently
—crumple intensely
—roll, wave
—place on scanner and move while scanning
—draw on it 
—draw around it
—shade it in
—trace it onto a new sheet 


Experiment with all of these materials/modes, at least once:
—graphite/pencil
—charcoal
—pen
—big fat marker
—ink and brush
—tearing
—folding
—cutting with xacto
—using the scanner



Resist over complicating your letterforms or compositions. You will have the opportunity to layer colors on the RISO. Focus on experimenting with familiar and unfamiliar ways of working and manipulating the letterform. If you are having a good time, you are doing it right. 





rings
ribbon
leaf
necklace
oats


ribbon
matches (outside!)
wax



Part 2


Take a long walk and bring your phone (camera). Try to be present and observe the world around you (instead of doing things on your phone—maybe even put it in airplane mode if you are tempted). Search for letterforms on signs, in cracks in the sidewalk, in restaurant windows. Look up and down — do the buildings make a letter with the sky? 


Use objects found in your environment to create letterforms — after you make these, you will photograph them, bring them into the computer, and lay them out on your 11x17” pages in InDesign. 






Part 3


How to document your paper experiments:

Photograph or scan the letters that you made, bring them into your InDesign document —


1. Open Adobe InDesign


2. File > New


3. 11x17, change units to inches, un-check “facing pages”, name your file


4. When you are in InDesign, use File > Place to place an image


5. To edit your image from Photoshop, go to Window > Links, use the hamburger menu, choose the image, and select “Open With Photoshop” — after you make your edits in Photoshop save the file with the same name and it will automatically update in InDesign.


6. Work iteratively by duplicating your pages.... In the”Pages” palette, select the page you want to duplicate, on a Mac computer hold down the “Option” key, drag your page slightly to the right until you see a vertical line, release. You should see the page repeated. Make edits on this page and keep moving forward. You can edit and select your favorites later!

If you are using the lab computers, here is how to save your files for use later on another machine:
File > Package, save the packaged file on your Google Drive or other place that works for you. The packaged file will include a PDF. This PDF is what you should print out before class, and what we will use for printing on the RISO.


Upload your PDF to the class Google Drive folder (X_Name) -- letter underscore Your Name.

Project Schedule:

WEEK 1
Project introduction, make and manipulate Helvetica letterforms in class, mini Photoshop and InDesign tutorials. 



WEEK 2 — RISO BOOK DAY (changed for snow, this will be WEEK 3)

Meet in room 207



DUE:
20 Letterform Compositions at 11x17” size, as both a PDF and printed out


Put the PDF version of your work in the class Google Drive Folder, we will use these PDFs for class and will access the drive from the  PC in the RISO room.

I am still confused, what am I bringing to class?
—Quantity: 20
—Size: 11x17” 
—Composition can be: “pages” or “poster” style, or a mix of both
—Format: PDF (to send thru computer) + print outs (to use on the RISO glass top)



Needed today: 
–
volunteers for book cover design + production
– volunteer for postcard set bellyband design + production



WEEK 4 — RISO BOOK DAY #2 

Meet in 207



We will continue to print spreads and postcards in class today, assemble the final book and cover if we have critical mass.



By the end of class final 11x17” book due, containing a page from each classmate, bound with elastic band (we will exchanges pages and bind them with the elastic at the top of class next class if we do not have all pages complete)

WEEK 3, in more detail (was originally week 2)


Class introduction/overview of the RISO with Louis Meola (louis.meola@tufts.edu). After the orientation, Louis will grant you permission to book the RISO machine for your work outside of class and give you card access to the room.

(If you are not present in class on week 3 you will not be granted access and you will need to follow up on your own time to complete the assignment.)

Together in class we will create a book. Everyone will print multiples of their letterform pages and we will “bind” them together with an elastic band.

Right now I estimate the book will contain TWO compositions from each student (e.g. if my letters were “M” and “B” I would contribute an “M” composition and a “B” composition to the class book) — this may change when we are working together, for example, we may decide as a group to add more.

First, we will plan our book as a class. We will use your black and white printouts to take a look at what we have. We may decide on a sequence. We will choose which ink colors to use. Students will group their files by ink color and we will run the pages for that color, switch the color out and run the next batch of pages. After that, we can get weird and experimental by printing things on top of other things. We will let the process and the possibilities and limitations of the RISO printer guide our outcome! It will be exciting and surprising.

If we do not have enough time for each student to print their compositions on the RISO together in class, you will need to reserve the space and complete your prints before the project is due.
RISO Printing Process


1. TURN ON THE MACHINE


    

  • Power on the RISO printer
    • 

  • Wait for it to warm up and initialize
  • Turn on the RISO on the *right* first, this is a work around for something weird with the PC 
    • 



2. PREPARE YOUR ARTWORK
Your artwork file should be:



    

  • Converted to grayscale (RISO only reads tonal values, not colors)
    • 

  • 300-600 dpi resolution
    • 

  • Completely flattened (no layers or effects)
    • 

  • Saved as a PDF
    • 

  • Sized correctly with at least 0.25" margins (RISO can't print full bleed)
    

    
(All of these should be fine if you made your PDF from the InDesign file)

    • 



3. LOAD THE COLOR DRUM


    

  • Install the ink drum with your chosen color
    • 

  • RISO can only print one color at a time
    • 



4. LOAD PAPER


    

  • Place a stack of paper in the paper tray (feather it, jog it up)
    • 

  • Use test/scrap paper first for your initial prints
    • 



5. SEND YOUR FILE FROM THE COMPUTER (PC)


Opening and Printing from Adobe Acrobat:
Step 1: Open your PDF file in Adobe Acrobat Reader (not just a web browser)



Step 2: Click File > Print (or press Ctrl+P)



Step 3: In the print dialog box:



    

  • Select your RISO printer from the printer dropdown menu (it should show the model name like "SF9390 RISO" or "EZ590U")
    • 

  • Check that you're printing the correct page number
    • 

  • Verify the orientation is correct
    • 



Step 4: Click Page Setup or Properties to access RISO-specific settings:



    

  • Paper size: Select A4 or A3 (matching your loaded paper)
    • 

  • Density: Adjust ink density (start at medium, you can test and adjust)
    • 

  • Print Mode:
      

    • Select "Line" for text and line art
      • 

    • Select "Photo" for photographs or illustrations with tonal gradients
      • 

    

    • 

  • Special effects (optional):
      

    • Grain Touch
      • 

    • Screen Covered
      • 

    • (See the RISO Color Overview sheet near your printer for reference)
      • 

    

    • 

  • Actual size: Make sure this is selected (not "fit to page")
    • 



Step 5: Click OK to close the settings window



Step 6: Click the Print button to send the file to the RISO



Step 7: Wait 20-30 seconds for the file to transfer to the printer
6. CHECK THE FILE ON THE RISO PRINTER


    

  • On the RISO printer display, press the Data-Map button
    • 

  • You should see your filename listed
    • 

  • If you sent the wrong file, press Clear and resend
    • 

  • If the file shows as paused, press Output to continue
    • 

  • If the printer warns about wrong color (even if correct), press Continue
    • 



7. CREATE THE MASTER (STENCIL)


    

  • The machine will now automatically burn the master
    • 

  • Tiny holes are burned into a thermal master sheet, creating a stencil
    • 

  • This master wraps around the drum
    • 

  • Watch the display to confirm the master is being created
    • 



8. MAKE TEST PRINTS


    

  • Press the green Print button on the RISO
    • 

  • The first copy will be very faint - this is normal
    • 

  • Make about 10 test copies until the print appears properly saturated with ink
    • 



9. ADJUST REGISTRATION (if needed)


    

  • Check if the print is positioned correctly on the paper
    • 

  • To move the print forwards or backwards: use the directional buttons
    • 

  • To move it left or right: turn the adjustment wheel
    • 



10. PRINT YOUR EDITION


    

  • Once satisfied with test prints, load your good paper
    • 

  • Set the number of copies you want
    • 

  • Press Print
    • 

  • RISO prints very fast (up to 150 pages/minute)
    • 



11. FOR MULTI-COLOR PRINTS


    

  • Let the first color dry (at least 1 hour; longer for blue and black ink or heavy coverage)
    • 

  • Remove the first color drum
    • 

  • Install the next color drum
    • 

  • Open your second layer PDF file in Adobe Acrobat
    • 

  • Repeat Steps 5-10 with the second color file
    • 

  • Important: Feed your already-printed sheets back through for the second color layer
    • 

  • Repeat for each additional color
    • 



12. TURN OFF THE MACHINE


    

  • Complete all printing
    • 

  • Power down the RISO printer
    • 

  • Allow prints to fully dry (RISO uses rice oil-based ink that takes time to dry)
    • 





Common Issues:


    

  • Paper jams: Check for stuck paper, clear it, and press the error button to restart
    • 

  • Multiple sheets feeding: Adjust the paper feed knobs
    • 

  • Dirty prints: Clean the feed wheels/rollers
    • 

  • Low paper warning: Refill the paper tray
    • 

  • File not appearing: Wait 30 seconds, check Data-Map screen, ensure RISO drivers are installed correctly



01




Franken-form!





Franken-form Overview:


You will familiarize yourself with different type classifications. Then you will choose at least 4 typefaces from 3 different categories (Serif, Sans-Serif, Script) to make 6 compositions. Using scissors and xacto knives, you will cut the typefaces up, noticing the interesting parts, and create completely new glyphs combining 2-3 typefaces at a time. What you make may resemble a letterform, but most likely it will not. 


This is going to be an exercise in looking closer at letterforms, appreciating their nuances and beauty, and creating something completely new.



Credit: This project is a modified version of an original by Lucy Hitchcock.


Readings: 

Thinking with Type by Ellen Lupton
“Concord and Contrast” 

“There is no such thing as neutral graphic design”, Eye on Design









© Professor Mary Banas, Fall 2025School of the Museum of Fine Arts at Tufts Universitysmfa.tufts.edu