Each of the questions describes a practical case that you as (type) designer could find yourself in. As Master designer you should be able to handle it, even if the situation is new and the available information is incomplete. What is your approach to such a design problem? Imagine that your customer is willing to pay you for all the proposed hours in each of the projects, but only if there is enough confidence that you know what you are talking about. And that your approach will lead to a good result, within the available amount of time.
Your answers could well be seen as proposals for such a project. By definition you have too little information, and still your customer expects your proposal to be realistic and informative. As Masters you are in the lead, this is something you should be capable of doing.
1 Corporate identity
You are asked to participate in a corporate identity project. It is your task to make a plan for the role of typography and type design in this new identity. Based on your plan, studio selections will be made and the briefing for a type designer will be written. Describe your way of working and write an initial draft for this type design briefing. Since you don’t know any specific requirements yet, you are asked to keep the options open, each marked with expected impact.
2 Spacing and kerning
You have a 4 month assignment to design a new family for a large corporate client. The project has a tight schedule, so it is crucial to separate the design work from production work that can be automated. You have budget to hire a programmer to automate part of spacing and kerning for you. What would your briefing to the programmer say? If you are too specific in your description, you probably did the work yourself already, preventing you from drawing type. If the briefing is too general, it is unlikely that the programmer will come up with something that is useful. Describe how you manage this balance. Note that you cannot assume that the programmer has much detailed experience with type design and typography.
3 Collaborating with other designers in a project
You have a 9 months assignment to design a new family for a large corporate client. There will be many masters and instances, likely including a weight, width and size axis. The required glyph set is WGL, which includes some scripts that you are not natively familiar with. You are allowed to invite other designers to join into the project, to help you with these other scripts.
Describe accurately how that would work. What is your interaction with them, in what stage of the project and for how long? What are they supposed to work on and how does that fit into your own design process? What measures do you take to guarantee that the project will be finished in time, with the given amount of budget and the required quality assurance?
4 (Type) design education
The government or a large corporation in your home country is planning to start a 2 year Master study, bridging the space between typography and type design for the local script and language. You get a full time 6 months assignment to write the initial plan for the curriculum, which then can be used for official accreditation and funding. The chances for success depend very much on the quality of your proposal. Describe the 6 months process that you go through and write an overview of the most important aspects of the proposal. Also give a cost estimate for the time that you spend on the project. The answer to this question could be seen as your initial quote to the government/corporation.
5 Publications on type design
You are asked to write the content for a book or website, which can be used as basis for teaching type design in a Bachelor course. Your potential customer will honor you the job after submission of a proof of concept, including a summary, a specified table of content and a time schedule. Write the draft for such a document.