This is the third creative lockdown challenge. These challenges are designed to be a bit of fun and to document our time collectively spent in lockdown. Please share this creative challenge with your friends and post your final results on social media.
Challenge Use the food you have in your home to create an edible alphabet. Think about a word you would like to spell out and work out how to make the letters. Will you arrange the food you’re about to eat or would you like to bake something from scratch?
Don’t go out shopping to buy any extra ingredients, the challenge is to use what you can find in your kitchen. It would be great to see photos of the process as you bake or create your letters.
Results Share your finished project on social media with #CreativeLockdownProject. Tag #TypeTasting as I’ll be sharing some of the results.
Support the studio
All live events, workshops and talks have been cancelled due to Coronavirus. Virtual events will be announced soon. Meanwhile, you can play a vital role in ensuring that the studio rent is paid by buying me a cup of virtual coffee here. Your help means that I can continue run workshops, research and events again once we’re out the other side, Sarah.
Examples shown: SWEET by Julie Mauro, TYPE by Nathan Dye and EAT MY WORDS by Theo Stewart.
In celebration of the official launch of Why Fonts Matter in the US today: Eye’s panel checked out the taste of Helvetica, Impact and Comic Sans (as cooked up by Sarah Hyndman). “Perfect. Helvetica is too serious to be sweet.” “Tastes more like Akzidenz Grotesk”, “Comic Sans deserves better”
I recently gave a talk to the Visual Communication (VisCom) students at the Arts University Bournemouth. After the talk I was delighted to accept the invitation to be one of the judges of their third annual Type & Cake bake off.
To celebrate their 5,000th Twitter follower, Monotype commissioned Type Tasting’s Sarah to create an edible version of their newest typeface release, Burlingame.
Burlingame was developed by Carl Crossgrove following pioneering investigations by Monotype into the legibility of vehicle displays. The research revealed a set of optimum criteria for dashboard display fonts: large counters and x-heights, simple shapes and a loose spacing of characters. It was found that a humanist sans serif typeface with these characteristics reduced male drivers’ glance time significantly.
Baskerville Earl Grey tea biscuits recipe Edible typography Using food to describe the experience of typography
Baskerville is a transitional serif typeface that sits between the old style serif typefaces of William Caslon and the modern serifs created by Giambattista Bodoni & Firmin Didot. English printer and type designer John Baskerville developed a typeface with more defined angles and greater stroke contrast. This was a refined face with improved legibility which also took advantage of the improvements in technology happening in the 1750s. Baskerville is a recognisably English typeface that has stood the test of time as a legible, everyday text face.
My interpretation of Baskerville are Earl Grey tea biscuits for an authentic eighteenth century flavour. At this time improved technology and transport allowed foods to be enjoyed throughout the country. Tea had become the national drink and the tea leaves would be dried, rolled and used again. I had initially thought that Baskerville should be savoury, since it’s an everyday ‘jobbing’ typeface, but sweet biscuits tasted better.
Helvetica water biscuits recipe Edible typography Using food to describe the experience of typography
The typeface Helvetica was created to be neutral and to have great clarity, but to have no intrinsic meaning of its own. It was intended that it could communicate any message, but without it being influenced by the style of the font in any way. i.e. clear enough to be used across a wide range of applications, but plain and neutral enough that that its sole purpose is to support the message.
My interpretation of Helvetica is to create it from savoury water biscuits which are plain enough that they can be included in a wide range of meals but take on the flavour and style of the food that they accompany. They have a sprinkling of salt to make them tasty enough to eat, and a dash of rosemary for a Swiss Alpine touch. Serve them with cheese, ham or a tasty dip.
Here at Type Tasting I’ve been having conversations about how we respond to different typefaces. Whether we’re type designers, graphic designers or nothing to do with the design industry, all of us are type consumers. We interact with typefaces constantly in our everyday lives and, although it happens on an instinctive level, when we read a word the choice of font also has an effect on us.
We celebrated Type Tasting’s first birthday with a day of edible type on Friday 14th February. Here’s a selection of the gastronomic typography and lettering created to mark the occasion.
Above: Nathan Dye’s chocolate TYPE cake, Helen Rawlinson’s peas thawing to the occasion, Sarah Hyndman’s edible rye bread Blackletter type “delicious with hummus” and Julie Muaro’s JOY in Breakfast Light, Regular & Extra Jam.
A delicious series of typographic cookies and sweets made by Andreja Brulc and inspired by the ‘besos’ pan dulce eaten in Mexico on Valentine’s Day. “I made ‘love and kisses in five languages: English, Spanish, Slovene, Italian and German” she explains.