FONT DESIGN & DEVELOPMENT ONE PART PERSONALITY ONE PART LEGIBIILTY

WHAT’S IT FOR? COMMUNICATE message EFFECTIVELY ENHANCE THE MESSAGE NOT DISTRACT from it dependent on the expertise of the maker

calligraphy vs Letter construction CALLIGRAPHY VS PRESS - THE ORGANIC HAND VS. GEOMETRIC PRECISION FRENCH ACADEMY OF SCIENCES - AGE OF ENLIGHTENMENT PROPOSED A 48 X 48 GRID UNIT & NOTION OF FONT METRICS.

ADOBE’S DESIGN PROCESS CONCEPT RESEARCH - DETERMINE TYPEFACE PRIMARY FUNCTION MODEL KEYWORD IN A GEOMETRIC SPACE FULL CHARACTER SET COMPLETION SET SPACING, KERNING, AUXILIARY PARAMETERS SUCH AS HINTS

CONCEPT DEVELOPMENT DESIGN PROJECT USUALLY FALL INTO 3 CATEGORIES: HISTORICAL ADAPTION OF EXISTING LETTER TYPEFACE, NEW DESIGN NOT BASED ON ANY PRE-EXISTING MODEL OR RETROFIT OF A TYPEFACE TO A NEW MEDIA.

KEYWORD EXPLORATION HAMBURGEVONS/hamburgevons MOST OFTEN USED MOST USEFUL SET OF LETTERS DUE TO ALL MAJOR STROKE TYPES REPRESENTED - STRAIGHT, ROUND, DIAGONAL AND S-CURVE CAPITAL AND LOWERCASE KEYWORD LETTERS GIVES EARLY IMPRESSION OF HOW LETTERFROMS FIT TOGETHER EASIER TO MAKE GLOBAL CHANGES BEFORE COMMITTING TO FULL ALPHABET primary exploration stage of shape and letterspacing

WEIGHT & TEXTURE (COLOR) FONT CHARACTERS NEED BALANCE OF STROKE WEIGHT AND CONSISTENT COLOR (GREY TONE OR VALUE) MUST NOT HAVE DARK SPOTS IN STEMS, JOINS OR CROTCHES MUST NOT HAVE LIGHT AREAS IN BOWLS OR HAIRLINES COUNTERFORMS MUST APPEAR CONSISTENT

PROPORTIONS & TYPE WIDTH CLASSIC PROPORTIONS - COMBINATION OF LETTERS WITH WIDER AND NARROWER LETTERFORMS EQUAL PROPORTIONS - LETTERS ARE MORE OF EQUAL WIDTH HAMBURGE HAMBURGE

LETTER SPACING nanbncndnenfngnhninjnknlnmnnnonpnqnrnsntnunvnwnxnynz WORK OUT BASIC letter FIT USING CONTROL CHAINS FOR lowercase string n & o - UPPERCASE STRING H & O nanbncndnenfngnhninjnknlnmnnnonpnqnrnsntnunvnwnxnynz lowercase control chain oaobocodoeofogohoiojokolomonooopoqorosotouovowoxoyoz UPPERCASE CONTROL CHAIN HAHBHCHDHEHFHGHHHIHJHKHLHMHNHOHPHQHRHSHTHUHVHWHXHYHZ OAOBOCODOEOFOGOHOIOJOKOLOMONOOOPOQOROSOTOUOVOWOXOYOZ

TYPEFACE FUNCTION IS THE FONT FOR DISPLAY FUNCTION? DISPLAY TITLES LEGIBILITY BETWEEN 18 TO 72 POINTS IS THE FONT FOR TEXT SETTING? TEXT BODY COPY LEGIBILITY BETWEEN 6 TO 18 POINTS

MRS. EAVES DESIGNED BY ZUZANA LICKO - 1996 Revival design based on Baskerville, the mid-18th century typeface created by John Baskerville. Tribute to Sarah Ruston Eaves, the love of John Baskerville’s life. Sarah Eaves and her children lived with Baskerville for 16 years after her husband Richard Eaves abandoned them. Sarah Eaves cared for the Baskerville- Eaves home and collaborated with Baskerville, becoming his partner in his typesetting business and in life. Sarah Ruston Eaves Baskerville continued her second husband’s typesetting business following John Baskerville’s death in 1775. Ms Ličko states “In translating this classic to today’s digital font technology, I focused on capturing the warmth and softness of letterpress printing that often occurs due to the gain of impression and ink spread.” Rounded the serifs and terminals - lowered the contrast of Baskerville’s thicks and thins. The result is more organic and softer.

CALVERT BRODY TYPEFACE Neville Brody’s remixed design based on Royal College of Art’s house original font created by Margaret Calvert. Used as an identity typeface for the university. "The idea is like bringing in a producer and doing a remix of music, so I remixed Margaret's font," Brody told Dezeen. "I've tried to make it both more classical by making it more exaggerated and thick and thin, and at the same time make it more industrial and contemporary, by bringing in the - hopefully interestingly - redrawn pieces plus the stencil."

PROGRESS TWO TYPEFACE This original monolinear sans with a soft, organic edge and striking joins, has eclectic, almost abstracted letter forms. Gareth Hague built Progress Two off of his first typeface concept - Enabler. He made it more mainstream by making the characters rounder, more organic and flexible multiple weights for both the display and text use.

REFERENCE ADOBE PUBLICATION: DESIGNING MULTIPLE MASTER TYPEFACES http://partners.adobe.com/public/developer/en/font/5091. Design_MM_Fonts.pdf