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Starting on my text face with Mark van Bronkhorst a couple weeks back I began by drawing a demibold and derived an ultralight from it, keeping the point structures compatible. My ultralight looked great & spaced fine on screen, but after the first test print I was scratching my head. David: "Yeah, the lighter weight looks much too big compared to the heavier weight at the same size. I get that." Pause. "But why... um. Why does it look like something Herb Lubalin drew?"
Mark: "Oh it's looking groovy?" I walk from the printer over to Mark thinking 'Is groovy some kind of precise typographic term I'm unfamiliar with?' Mark after seeing it: "Yeah, it's pretty groovy."
The hole in this b’logue and my truancy from TypeCon since 2009 has clearly left me with some ’splaining to do. I went back to school; this after years of considering myself done with it. There to welcome me back to the design program we had begun together was the graduating class of seniors. With a flush schedule and an abbreviated program I finished up a year behind them. Friends pictured below interspersed: Regan Johnson, Joey Lasko, Miriam Altamira, Colin Pinegar, & Rory Bruggeman.
Spring breaks forth in its silent three-month-long shout for joy.
Here's a project that's been teaching me about the Cyrillic alphabet and drawing in context of a type system. It's called Stralis.
Pictured above is a working prototype that makes reading articles and longer works on the internet more like reading a book. Its content (the entire article, or chapter, or book) is loaded from a database and the front end presents it as pages in a spread.
Available immediately for download here at FontShop (FontStruct account required).
Lesson learned: Don't fight the format.
Setting aside my text face for just a moment—this was fun.
FontStruct is decidedly as easy as it looks.
Thank you FontShop for producing FontStruct.
Not much time to say this: What a great past couple of days! The conference has been excellent, and the best part has been running into people I've heard about and whose work I've seen. Also, I got Nick Shinn's book on modern type. Thanks Nick.
Sidney Poitier? Maybe; that's beside the point. Me! I'm coming.
It will be my first. Any suggestions on what I should bring? Anything you wish you had brought to your first typecon?
I've taken this idea and sketched on it for the last two months, mornings and evenings. Here's a look at some digitized work from today.
I've got an [unusually dark] blue highlighter and a red ballpoint pen here at work. I use the highlighter like a broad-nib pen. The pen I use for making outlines and filling them. The project I keep kicking around in the back of my head is a can label for Sea Meat, a curious fictional aquatic meat food.
First time I've
· tried to match someone else's style
· made type with vectors that isn't a script
I started doing this a while back. Wulf Barsch showed up to a class and noticed a case of Staedtler Lumograph pencils. "Did you know that these were created for the purpose of drawing on foil?" No I didn't know that. It was worth a try. It was only after writing in foil though that I began to take seriously the idea of making type from my handwriting—an idea I had kept for a long time. There comes with writing on foil a remarkable feeling of the medium pushing back; have you ever noticed that?