1. FONT DESIGN & DEVELOPMENT
ONE PART PERSONALITY
ONE PART LEGIBIILTY

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

3. 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.

4. 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

5. 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.

6. 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

7. 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

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

10. 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

11. 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

12. 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.

13. 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."

14. 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.

15. REFERENCE ADOBE PUBLICATION: DESIGNING MULTIPLE MASTER TYPEFACES
Design_MM_Fonts.pdf