princeton architecur al press · new york
Published by Princeton Architectural Press 37 East Seventh Street New York, New York 10003 Visit our website at www.papress.com © 2013 The Ivy Press Limited All rights reserved Printed and bound in China Color origination by Ivy Press Reprographics 16 15 14 13 4 3 2 1 First edition No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews. Every reasonable attempt has been made to identify owners of copyright. Errors or omissions will be corrected in subsequent editions. This book was conceived, designed, and produced by
Ivy Press 210 High Street, Lewes, East Sussex, BN7 2NS, UK Creative Director: Peter Bridgewater Publisher: Susan Kelly Commissioning Editor: Sophie Collins Art Director: Wayne Blades Senior Editor: Jayne Ansell Designer: Tony Seddon For Princeton Architectural Press: Project Manager: Nicola Bednarek Brower Cover Design: Paul Wagner Special thanks to: Sara Bader, Janet Behning, Fannie Bushin, Megan Carey, Carina Cha, Andrea Chlad, Russell Fernandez, Jan Hartman, Jan Haux, Jennifer Lippert, Jacob Moore, Katharine Myers, Margaret Rogalski, Elana Schlenker, Dan Simon, Sara Stemen, Andrew Stepanian, and Joseph Weston of Princeton Architectural Press—Kevin C. Lippert, publisher Library of Congress Cataloging-in-Publication Data Seddon, Tony, 1965— Draw your own alphabets : thirty fonts to scribble, sketch, and make your own / Tony Seddon.—First edition. pages cm ISBN 978-1-61689-126-8 1. Lettering. 2. Alphabets. I. Title. NK3600.S485 2013 745.6’19—dc23 2012032552
CONTENTS About Hand Lettering Developing a Skill Set Tracing & Tampering Understanding Letterforms
The Alphabets How to Use Your Fonts How Computers Handle Fonts Bitmap Versus Vector Drawing & Scanning Fonts Drawing with Vectors Digitizing Your Fonts The Anatomy of a Font Glossary About the Font Designers Acknowledgments
6 7 8 9 11 143 144 146 148 150 152 156 157 159 160
ABOUT HAND LETTERING 2
PEGWRQPCVKOGVJGTGYCUPQVJKPIDWVJCPFNGVVGTKPICPFVJKUMGRVCNQVQH OQPMUKPICKPHWNGORNQ[OGPVYJKNGVJG[YGTGPoVQVJGTYKUGQEEWRKGFYKVJ RTC[KPICPFDTGYKPI6JKUYCUCNNȧPGDWVKVFKFOGCPVJCVDQQMUVQQMCDUQNWVGN[ CIGUVQRWVVQIGVJGTCPFVJCVVJGTCPIGQHUWDLGEVUEQXGTGFYCURTGVV[NKOKVGF
YJKEJKUȧPGKH[QWCTGTGCNN[KPVQTGNKIKQPQHEQWTUG +VCNUQOGCPVVJCVDQQMUYGTGGPQTOQWUN[
ITCFWCNN[DGGPJCPFGFVQVCNV[RQITCRJKEEQPVTQN
GZRGPUKXG5QGZRGPUKXGKPHCEVVJCVJCTFN[CP[QPG
CPFECPOCMGRTGVV[OWEJCP[NGVVGTUJCRGUVJG[
EQWNFCHHQTFVJGO5QHQTEGPVWTKGUHGYRGQRNG
YCPVVQNKOKVGFQPN[D[VJGKTQYPETGCVKXKV[CPF
NGCTPGFVQTGCFCPFGXGPKHVJG[EQWNFVJGTGYCU
G[GHQTFGVCKN
PQRQKPVDGECWUGVJG[EQWNFPoVDW[CP[VJKPIVQ TGCFCP[YC[#UHQTVJGSWKEMDWEMȨ[GTOCTMGV
QRKPKQPJCUITQYPCTQWPFVJGHCEVVJCVCP[QPG
KVYCUCVQVCNȨQRDCEMKPVJQUGFC[U
ECPDW[C/CEtor
#NNVJKUDGICPVQEJCPIGKPVJGȧTUVJCNH
a PC, t’s not be tCPF
ETGCVGV[RG/WVVGTKPIUQHNQUVUMKNNUCPFIGPGTKE
QHVJGȧHVGGPVJEGPVWT[YJGPEGTVCKPHQNMUWEJCU
FGUKIPUQNWVKQPUJCXGDGEQOGTKHG6JKUJCUUGGP
,QJCPPGU)WVGPDGTI0KEQNCU,GPUQPCPF9KNNKCO
CTGUWTIGPEGKPVJGCTVQHJCPFNGVVGTKPICNQPI
%CZVQPTGCNK\GFVJCVVJGTGYCUOQPG[VQDGOCFG
YKVJCYJQNGJQUVQHQVJGTFGUKIPCPFETCHV
KPRTKPVKPIDQQMUCPFRQUVGTUQPCOWEJNCTIGT
TGNCVGFUMKNNU9GCTGRTGUGPVN[NKXKPIKPCPGY
UECNGtCPFKPCNQVNGUUVKOGVJCPVJGIW[UWR
GTCQHRQRWNCTKV[HQTVJGpJCPFOCFGqYKVJPQ
CVVJGOQPCUVGT[EQWNFOCPCIG+PHCEVKVYCU
UKIPQHKVUTGNGXCPEGYCPKPICUQVJGTHCFFKUJ
%CZVQPYJQMKEMUVCTVGFVJGDWTIGQPKPIȨ[GT
OQXGOGPVUJCXGFWTKPITGEGPVFGECFGU
UEGPGYJGPJGRTKPVGFUQOGVQCFXGTVKUGJKUQYP
$WVYJCVGNUGKUVJGTGVQTGEQOOGPFJCPF
DWUKPGUUtUOCTVHGNNQY.KVGTCE[NGXGNUSWKEMN[
NGVVGTKPI!9GNNVJGTGoUQPGOCUUKXGN[KORQTVCPV
DGICPVQITQYCPFUQOGVJKPIECNNGFVJG
RQKPVVQOCMG#P[QPGECPUGNGEVCV[RGHCEG
pRWDNKUJKPIKPFWUVT[qYCUKPXGPVGF
EJCPIGVJGRQKPVUK\GCPFCFFUQOGEQNQT
(CUVHQTYCTFVJTQWIJOQXCDNGYQQFCPFOGVCN
*QYGXGTHQTUQOGVKOGCITQWPFUYGNNQH
9KVJVJGUV[NGUGVVJGV[RGYKNNDGWPKHQTOCPF
V[RGVJGOGEJCPK\CVKQPQHV[RGUGVVKPIXKC.KPQV[RG
EQPUKUVGPV*QYGXGTKH[QWVCMGVJGUCOGRKGEGQH
CPF/QPQV[RGJQVOGVCNOCEJKPGU.GVTCUGVt
VGZVCPFJCPFNGVVGTKVKVoUWPKSWG*CPFNGVVGTKV
a m b-о at d о a p t
CICKPPGZVYGGMCPFCICKPKVoNNDGGSWCNN[WPKSWG
CPFRJQVQV[RGUGVVKPICPFYGCTTKXGCVCPF
at’s at’s !"t #$ —%’s to'lly )*,
VJGȧTUV#RRNG/CEKPVQUJ6JKUEJCPIGFGXGT[VJKPI
CPFETGCVKXGN[URGCMKPIKVYKNNCNYC[UDGNQPIVQ
5KPEGVJGPFGUKIPGTUCPFPQPFGUKIPGTUCNKMGJCXG
[QW-GGRTGCFKPICPF[QWoNNUGGYJCV+OGCP
ABOUT HAND LETTE RING
DEVELOPING A SKILL SET ,
H[QWoTGCUGCUQPGFFGUKIPGTVJGTGoUCRTGVV[IQQFEJCPEGVJCV[QWoNNJCXGCP GZVGPUKXG MPQYNGFIG QH V[RG6[RG WPFGTRKPU GXGT[ CTGC QH ITCRJKE FGUKIP DGECWUGV[RG KOCIG KPHQTOCVKQPCPFVJCVoUYJCVYGoTGCNNCDQWV+H[QWoTGCV VJGUVCTVQH[QWTETGCVKXGECTGGTQTKH[QWoTGCRCTVVKOGNQXGTQHV[RG[QWOC[ PGGFCNKVVNGOQTGJGNRVQIGVUVCTVGFQPVJGRCVJVQJCPFNGVVGTKPIUWEEGUU
9JGP+DGICPO[ECTGGTCUCITCRJKEFGUKIPGT
YQTMHTQOCRKGEGQHV[RGVJCV[QWoXGUGGPCPF
VQYCTFVJGGPFQHVJGUVJGOCPWUETKRVHQT
NKMGF$GUWTGVQUVCTVYKVJCV[RGHCEGVJCVKUPoV
CDQQMYCUVWTPGFKPVQV[RGD[CV[RGUGVVGT6JG
KVUGNHJCPFFTCYPDGECWUGVJCVYQWNFFGHGCVVJG
pICNNG[Uq QTRCIGU QHV[RGCTTKXGFQPCNQPITQNN
QDLGEVQHVJKUGZGTEKUGWork
QHRCRGTVJCV[QWECTXGFWRYKVJCP:#EVQMPKHG
+ a פ/0 to be1n +
( ) 3n аe 5 67%! 89y :;<)CPFVT[
CPFUVWEMVQCDQCTFYKVJGKVJGTJQVYCZQTVJKU
VQTGPFGTYJCV[QWUGGCURTGEKUGN[CURQUUKDNG
COC\KPIUVWHHECNNGFTWDDGTEGOGPV YJKEJEQWNF
NQQMKPIENQUGN[CVVJGUJCRGUCPFRTQRQTVKQPUQH
CNUQDGWUGFVQOCMGUGTXKEGCDNGUSWCUJDCNNU
GCEJNGVVGTHQTOCPFVJGEQPVTCUVKPVJGYKFVJQH
6JKUOGCPVVJCVYGJCFVQNGCTPJQYVQJCPF
VJGUVTQMGU+VoNNDGVGORVKPIVQUKORN[VTCEGQXGT
TGPFGTV[RGKPQTFGTVQETGCVGKPKVKCNENKGPVXKUWCNU
VJGQTKIKPCNDWVTGUKUVVJGWTIGVQFQVJKUDGECWUG
CPFQPGQHO[ȧTUVCUUKIPOGPVUCVCTVEQNNGIG
[QWoNNICKPPQVJKPID[FQKPIUQ#NOQUVCP[QPG
KPXQNXGFJCPFNGVVGTKPICRJTCUGKPCTCPFQON[
YKVJCUVGCF[JCPFECPVTCEGCRKGEGQHV[RG
CNNQECVGFV[RGHCEG+YCUIKXGPCURGEKOGPUJGGV
&QPoVIQKPVQVJKUGZRGEVKPI[QWTKPKVKCNGHHQTVU
QHCV[RGHCEGECNNGF9CNDCWOCPFRTQEGGFGF
VQNQQMCOC\KPI KVVCMGURTCEVKEGDWVJQRGHWNN[
VQJCPFNGVVGTVJGRJTCUG'VKP#TECFKC'IQ KPRWTRNG
KPVKOG[QWoNNȧPFVJCV[QWECPTGRTQFWEGCRTGVV[
IQWCEJGQPUVTGVEJGFKNNWUVTCVKQPRCRGTYJKEJ
IQQFXGTUKQPQH$QFQPKQT$GPVQP)CTCOQPFQT
NQQMGFIQQFCVVJGVKOG +VYCUO[ȧTUVTGCNJCPF
)KNN5CPU9JCV[QWoTGCKOKPIHQTKUGHHGEVKXGN[C
NGVVGTKPIGZRGTKGPEG+H+oFDGGPCUMGFVQJCPFNGVVGT
UNKIJVN[NGUUVJCPRGTHGEVXGTUKQPQHVJGQTKIKPCN
VJGYQTFUVJGYC[+YCPVGF+YQWNFJCXGRTQFWEGF
V[RGUCORNG1PEG[QWHGGNEQPȧFGPVVJCV[QWECP
YJQMPQYUYJCVDWVDGECWUG+YCUTGSWKTGFVQ
FQVJKUKVoUVKOGVQTCKUGVJGDCTCNKVVNGJKIJGT
TGRNKECVGCPGZKUVKPIV[RGHCEGCUCEEWTCVGN[CU RQUUKDNG+NGCTPGFUQOGVJKPICDQWVV[RG +VYCUCIQQFYC[VQUVCTVCPF+TGEQOOGPF VJCV[QWVT[UQOGVJKPIUKOKNCTKPQTFGTVQIGVWUGF VQFTCYKPIUVCPFCTFNGVVGTHQTOU;QWFQPoVPGGF URGEKOGPUJGGVUQHEQWTUG KPHCEVKVoUGCUKGTVQ DEVELOPING A SKILL SET
TRACING & TAMPERING +
QRGHWNN[ [QWoXG HQNNQYGF VJG CFXKEG CDQWV IGVVKPI VQ ITKRU YKVJ FTCYKPI TGIWNCTNGVVGTHQTOU UNCRRGFYTKUVKHPQV CUIWGUUYJCVt+oOCDQWVVQNKHV VJGGODCTIQQPVTCEKPI+FQPoVYCPVVQGPEQWTCIG[QWVQEQR[GPVKTGNGVVGTHQTOU FKTGEVN[QHEQWTUGDWVKPUVGCFVQWUGVTCEKPICUCOGCPUQHETGCVKPIPGYCPF VJGTGHQTGWPKSWGGZCORNGU
6JGUEGPCTKQKUVJCV[QWoXGIQVCPKFGCKP[QWT
KORQUGFD[GKVJGT[QWVJGRTQLGEVQT[QWTENKGPV
JGCFHQTCRTQLGEVCPF[QWYCPVVQKPEQTRQTCVG
KH[QWJCXGQPG *QYGXGTTGOGODGTCNYC[UVQ
UQOGJCPFOCFGGNGOGPVU;QWMPQYVJGURCEG
MGGRCPG[GQPTGCFCDKNKV[DGECWUGKVoUGCU[VQ
VJGV[RGPGGFUVQȧVKPVQYJCVUK\GVJGV[RG
IGVECTTKGFCYC[YKVJGODGNNKUJKPICPFHQTIGV
UJQWNFDGYJCVVJGNKPGDTGCMUCTGCPFUQQP
VJCVUQOGQPGOKIJVCEVWCNN[JCXGVQFGEKRJGT
DWV[QWECPoVUKORN[V[RGUGVKVDGECWUG[QWTGCNN[
YJCVVJGVGZVUC[U9JGP[QWoTGJCRR[YKVJVJG
YCPVKVVQDGJCPFFTCYP1PGYC[VQCRRTQCEJ
TGUWNVUIQQXGTVJGUMGVEJGFIWKFGUYKVJDNCEM
VJKUKUVQUGNGEVCV[RGHCEGVJCVoUUKOKNCTKP
KPMVQETGCVG[QWTȧPCNNKPGYQTM
RTQRQTVKQPQTUV[NGtOC[DGCUETKRVQTCPKVCNKE UGTKHQTYJCVGXGTtCPFWUGKVVQTQWIJN[ETGCVGVJG
FTCYKPIEQORNGVGYQTFUQTEQNNGEVKQPUQHYQTFU
V[RQITCRJKECTTCPIGOGPVVJCV[QWPGGFHQT[QWT
WUGFVQHQTOCJGCFNKPGQTRJTCUGDWV[QWECP
RKGEG1PEG[QWJCXGVJCVTWPKVVJTQWIJ[QWT
WUGKVLWUVCUGHHGEVKXGN[HQTETGCVKPIKPFKXKFWCN
RTKPVGTCVVJGUK\G[QWYCPVVQWUGKVCPFVTCEGKV
EJCTCEVGTUVJCVCTGIQKPIVQHQTOCEQORNGVG
KPRGPEKNVQRTQXKFGVJGUMGNGVQPHQT[QWTQYP
EJCTCEVGTUGV+H[QWCTGYQTMKPIQPCHWNNCNRJCDGV
JCPFFTCYPV[RQITCRJ[+H[QWWUGCDNWGRGPEKN
OCMGUWTG[QWYQTMCVCEQPUKUVGPVUK\GYJGP
VJGUMGVEJYQTMYQPoVRKEMWRQPCUECPPGTt
VTCEKPICPFEWUVQOK\KPIGCEJEJCTCEVGTtKVoUC
> '? !"t @ 6 AB D'0 о Es 148–149
PKIJVOCTGVQVT[CPFTCVKQPCNK\GGXGT[VJKPICVVJG
0QY[QWECPJCXGCNNMKPFUQHNGVVGTKPIHWP D[VCORGTKPIYKVJGCEJQHVJGNGVVGTHQTOU%CNN
6JKUOGVJQFKURCTVKEWNCTN[UWKVCDNGHQTJCPF
GPFQHVJGRTQEGUUKH[QWFQPoV 9KVJGPQWIJRTCEVKEG[QWoNNGXGPVWCNN[DGCDNG
KVpHQPVEWUVQOK\KPIqKH[QWNKMG6JGCKOKUVQ
VQFKURGPUGYKVJVTCEKPICNVQIGVJGTYJGPETGCVKPI
DWKNFQPVJGDCUKENGVVGTHQTOUD[GKVJGTCFFKPI
[QWTQYPJCPFFTCYPV[RGHCEGUCPFFKIKVCNHQPVU
QTUWDVTCEVKPIFGVCKNWPVKN[QWCEJKGXGVJGNQQM
6JCVFQGUPoVOGCP[QWJCXGVQVWTP[QWTDCEMQP
[QWoTGCHVGT;QWECPGZVGPFUGTKHUCFFȨQWTKUJGU
VTCEKPICNVQIGVJGTQHEQWTUGCUOCP[CETGCVKXG
GZCIIGTCVGUVTQMGEQPVTCUVUQTEQORNGVGN[
RTQLGEVKUDWKNVQPVJGHQWPFCVKQPUQHCPQVJGT
FGEQPUVTWEVVJGQTKIKPCNNGVVGTHQTOU6JGQPN[
.GCXGKVKP[QWTVQQNDQZQHV[RQITCRJKEVTKEMU
NKOKVUYKVJJCPFFTCYPV[RGHCEGUCTGVJQUG
WPVKNVJGPGZVVKOG[QWPGGFUQOGGZVTCJGNR
T R A C I N G & TA M P E R I N G
UNDERSTANDING LETTERFORMS 7
JGTGoUCPCTIWOGPVWPFGPKCDN[XCNKFVJCVKH[QWoTGJCPFFTCYKPIV[RGHCEGU VJGPCMPQYNGFIGQHTGIWNCTNGVVGTHQTOUKUPoVTGCNN[PGEGUUCT[#PFVJCVoUHCKT GPQWIJ+UWRRQUG*QYGXGT+YQWNFEQWPVGTVJCVCTIWOGPVD[UC[KPIKVCRRNKGU QPN[YJGPETGCVKPICURGEKȧEUV[NGQHJCPFNGVVGTKPIVJGMKPFVJCVoUPQVDCUGFQP CP[QHVJGVTCFKVKQPCNV[RGHCEGU +H[QWoTGNQQMKPIVQOCMGCEJCTCEVGTUGVQHQXGTVN[
+H[QWHGGNVJCV[QWEQWNFWUGUQOGJGNRYKVJ
CDUVTCEVNGVVGTHQTOUVJGPPQRTQDNGO KVoUȧPGVQ
WPFGTUVCPFKPIJQYNGVVGTHQTOUYQTMVT[VJKU
VJTQYGXGT[VJKPIQWVQHVJGYKPFQYCPFJGCF
UKORNGGZGTEKUG%JQQUGCJCPFHWNQHTGIWNCT
KPYJKEJGXGTFKTGEVKQP[QWHGGN$WVHQTOGKVoU
V[RGHCEGUVJCV[QWGKVJGTNKMGQTVJKPMYQWNFNQQM
KORQTVCPVVQWPFGTUVCPFJQYNGVVGTHQTOUYQTM
IQQFVQIGVJGTVJGPRKEMCEQWRNGQHVJGNQYGTECUG
6JGCPCVQO[QHV[RGKUKORQTVCPVDGECWUGCNKVVNG
EJCTCEVGTUHTQOGCEJ6JGNQYGTECUGpCqCPFpIq
MPQYNGFIGYKNNCNNQY[QWVQVCNMVJGVCNMYKVJ[QWT
CTGIQQFEJQKEGUDGECWUGVJG[EQPVCKPCNQVQH
EQNNGCIWGU(or
VJGHGCVWTGUHQWPFKPVJGOCLQTKV[QHEJCTCEVGTU
)r Jg, K ) LM о )r Nn OQ R)
CDQWVVJGXCTKQWUGNGOGPVUCPFEJCTCEVGTKUVKEUQH
UWEJCUDQYNUVCKNUEQWPVGTUNKPMUCPFNQQRU
CNGVVGTHQTO6JGKNNWUVTCVKQPQPRCIGYKNNJGNR
UGGVJGKNNWUVTCVKQPQPRCIGKHVJGUGFQPoV
[QWIGVVQITKRUYKVJVJGEQTTGEVVGTOKPQNQI[
OGCPCP[VJKPI 7UKPIYJCVGXGTUQHVYCTG[QW
+VoULWUVCUKORQTVCPVVQEQPUKFGTQDUGTXKPI
JCXGQPJCPFRQUKVKQPVJGEJCTCEVGTUQPC
EQPUKUVGPVUVCPFCTFUUWEJCUZJGKIJVUCPFECR
EQORWVGTUETGGPKPCPCNKIPGFUVCEMVQUGGJQY
JGKIJVUYJGP[QWoTGETGCVKPICHWNNEJCTCEVGTUGV
VJGZJGKIJVUCUEGPFGTUQTFGUEGPFGTUDQYNU
HQTJCPFFTCYPV[RGHCEGUCUKVKUHQTTGIWNCT
EQWPVGTUJCRGUQTUGTKHUEQORCTG$GVVGTUVKNN
FKIKVCNHQPVU+VoUPQVEQORWNUQT[QHEQWTUG
ITCDUQOGVTCEKPIRCRGTCPFVTCEGGCEJEJCTCEVGT
DGECWUGUQOGHQPVUCTGDQWPFVQTGSWKTGCOQTG
QXGTNC[KPIGCEJQPGVQTGCNN[UGGJQYVJG[FKHHGT
HTGGHQTOSWCNKV[DWVJGTGoUUQOGHTKGPFN[CFXKEG
+VoUCUWTRTKUKPIN[GPNKIJVGPKPIGZRGTKGPEGVJCV
HTQOUQOGQPGYJQNGCTPGFVJGJCTFYC[+H[QW
+JKIJN[TGEQOOGPFCPFKVoUVJGDGUVYC[VQIGV
HCKNVQIKXGVJGDCUKEUVTWEVWTGQH[QWTNGVVGTHQTOU
VQITKRUYKVJVJGYC[VJGKPVGTPCNCPFGZVGTPCN
CP[VJQWIJV[QWTGHHQTVUCTGKPFCPIGTQHNQQMKPI
UJCRGUQHKPFKXKFWCNEJCTCEVGTUCTGHQTOGF
COCVGWTKUJCPFKNNEQPUKFGTGFNKMGCJKIJUEJQQN RTQLGEVEQORCTGFYKVJCRTQHGUUKQPCNEQOOKUUKQP #NVJQWIJJCPFFTCYPHCEGUTGRTGUGPVVJGHTGG HQTOVJG[UJQWNFUVKNNDGUVTWEVWTGFCPFEQPUKUVGPV KHVJG[oTGIQKPIVQYQTMYGNN
(S E 156 5 VatXy a YZ) UNDERSTANDING LETTERFORMS
THE ALPHABETS
BUTTERMAN 7
JKU HQPV EQPLWTGU WR KOCIGU QH C EQOGF[ UWRGTJGTQtC UVTQPI DWV UNKIJVN[ TQVWPFEJCTCEVGTYJQUGCFXGPVWTGUDTKPIUWEEGUUCPFFKUCUVGTKPGSWCNOGCUWTG &GUKIPGT5EQVV5WVVG[JCFVJKUJGTQtp6JG$WVVGT/CPqtKPOKPFYJGPJGETGCVGF VJKUHQPVRKEVWTKPIJKUUWKVYKVJKVUVTCFGOCTMNQIQGODNC\QPGFCETQUUVJGHTQPV
ANATOMY OF THE FONT
FONT FEATURES
Each glyph from the character set of Butterman appears to be cut from a single block. Character widths are proportional to allow for conventionally spaced lettering, and round glyphs are based on perfect circles.
•
All glyphs are solid blocks
KEY FONT DETAILS • None of the glyphs feature counters or eyes. • Some lower case glyphs, such as the “s,” echo the upper case forms, while others contain slightly more detail.
NATURAL PARTNERS • The chunky three-dimensional characters of this font need a strong partner, so try a solid geometric sans serif, such as Klavika or Scala Sans.
THE ALPHABETS
•
The “S” is constructed from a pair of semicircles
BUTTERMAN
BUTTERMAN
THE ALPHABETS
DRAW YOUR OWN
BUTTERMAN
CUPID
+
GCX[DNQEMV[RGHCEGUCTGPQVCNYC[UU[PQP[OQWUYKVJFGNKECE[DWVKNNWUVTCVQT 6QPYGP,QPGUYCPVGFVQETGCVGCHQPVVJCVDCNMGFVJCVVTGPF%WTKQWUN[VJG FKURTQRQTVKQPCVGN[VKP[YKPIUCPFRCUUKPIENQWFURTQXKFGVJGHQPVYKVJCPCPIGNKE SWCNKV[VJCVYQWNFQVJGTYKUGDGCDUGPV
ANATOMY OF THE FONT
FONT FEATURES
A variable alignment to the baseline helps to give this font the impression that it’s hovering in the air. The winglike embellishments vary in size and position from glyph to glyph, creating a charming sense of animated movement.
•
Some glyphs have much larger decorative details
KEY FONT DETAILS • Counters are rounded for some glyphs (D, O, P, and Q) and squared for others (A, B, and R). • Cloud embellishments mean letter spacing must be kept very loose.
NATURAL PARTNERS • This is a singular font, but many sans serif text fonts, such as Univers, could partner it well. You could also try a slab serif, such as Rockwell (look at the upper case I).
THE ALPHABETS
•
There is little or no consistency in stem weights
CUPID
CUPID
Why cupids in not turn embellishto angels by in tilted hga with a lo?
THE ALPHABETS
DRAW YOUR OWN
CUPID
STEADMAN
'
GUKIPUQNWVKQPUECPQHVGPTGUWNVHTQOpJCRR[CEEKFGPVUq&CXG2GPVNCPFYCU FGXGNQRKPICJCPFYTKVVGPUV[NGHQPVDWVFKUEQXGTGFVJCVVJGQTKIKPCNFTCYKPIU NQQMGFDGVVGTTGXGTUGFQWVCHVGTUECPPKPICPFQWVNKPKPI6JGHQPVKUPCOGFCHVGT &CXGoUHCXQTKVGKNNWUVTCVQT4CNRJ5VGCFOCP
ANATOMY OF THE FONT
FONT FEATURES
The majority of glyphs in this typeface feature additional line work running parallel to the stems, enhancing the “sketched” look associated with Ralph Steadman. A double line at the end of the stems and cross strokes form serifs.
•
Counters are completely solid wherever they occur
KEY FONT DETAILS • Counters are completely solid, meaning some glyphs appear to be much bolder. • The tail of the “Q” is formed from the same double line style as the serifs. • Lower case “a” has no serifs.
NATURAL PARTNERS
• A neat serif font, such as New Baskerville or Bell, will work well with this free-form font with its own small serif details.
THE ALPHABETS
• Some lower case glyphs lack serif details
STEADMAN
STEADMAN
THE ALPHABETS
DRAW YOUR OWN
STEADMAN
SCIENCE LESSON
$
FGUKTGVQQYPCOQNGEWNCTOQFGNKPIMKVQHVJGMKPFHQWPFKPUEJQQNUEKGPEG NCDU CPF VJG CESWKUKVKQP QH QPG KP C UGEQPFJCPF UVQTG KPURKTGF FGUKIPGT 9C[PG$NCFGUVQFGUKIPVJKUJKIJVGEJHQPV0GGFNGUUVQUC[VJGOQNGEWNCTOQFGNU PGXGTIQVOCFG6JGFTQRUJCFQYUYGTGCFFGFKP2JQVQUJQRRQUVUECPPKPI
ANATOMY OF THE FONT One of the more detailed fonts in this book, Science Lesson actually uses just a few basic elements to construct the relatively complex letterforms. The letters use a repeat “molecule” to join each stroke formed by hand-drawn rules. At first glance, the font appears to be monospaced, but it is, in fact, proportional.
FONT FEATURES •
The “B” is formed from diagonal, vertical, and horizontal strokes
KEY FONT DETAILS • The “B” is formed from diagonal, vertical, and horizontal strokes to avoid potential misidentification as an “8,” which is formed from only diagonal strokes. • The “Q” is the only glyph with strokes that cross without a linking molecule element.
NATURAL PARTNERS • The scientific theme of this illustrative font should be carried through to accompanying text using fonts such as DIN or Neotech.
THE ALPHABETS
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Strokes cross without a linking “molecule” forming a joint
SCIENCE LESSON
SCIENCE LESSON
THE ALPHABETS
SCIENCE LESSON
CONTROL CHAOS
6
CTCJ.WoUHQPVJCUDGGPCTQWPFUKPEGtKVoUUETCYNGFKPXCTKQWUHQTOUQXGT VJGOCP[UMGVEJDQQMUVJCVTGEQTFJGTVJQWIJVUITCRJKEKFGCUNQXGUCPFJCVGU 6JG DCUKE NGVVGTHQTOU UJQYP JGTG CTG RGTHGEV HQT CFFKPI ETQUUJCVEJKPI FTQR UJCFQYUQTQXGTNC[RCVVGTPU
ANATOMY OF THE FONT
FONT FEATURES
A more conventional typeface than some of the others featured in this book, Control Chaos features proportional character widths with glyphs more or less aligned to a consistent baseline. Tight spacing of this relatively condensed font makes it useful for headlines or comic book speech bubbles.
KEY FONT DETAILS • The leg of the “R” terminates slightly above the baseline. • The lower bowl of the “S” is much larger than the upper bowl.
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The lower bowl of the “S” is proportionally much larger
NATURAL PARTNERS • Don’t be tempted to pair any typeface with a “cartoon” look to this font. Try bolder sans serifs, such as Franklin Gothic or Lucida Sans.
THE ALPHABETS
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The leg of the “R” terminates above the baseline
CONTROL CHAOS
CONTROL CHAOS
THE ALPHABETS
DRAW YOUR OWN
CONTROL CHAOS
ORIGAMI
:
JGPCUMGFVQFGXGNQRCV[RGHCEGHQTWUGQPCP'CUVGTPKPȨWGPEGFTGVCKNGToU YGDUKVGKNNWUVTCVQT5CTCJ.WRTQFWEGFVJKUECTGHWNN[HQNFGFHQPV$CUGFNQQUGN[ QP VJG HQPV #NCMQ $QNF YKVJQWV GEJQKPI GZCEV EJCTCEVGT UJCRGU VJG VJTGG FKOGPUKQPCNEJCTCEVGTUECPCEVWCNN[DGEQPUVTWEVGFHTQOUVTKRUQHRCRGT
ANATOMY OF THE FONT
FONT FEATURES
Undoubtedly, a novelty font with specific potential usage, Origami’s structure closely follows paper-folding rules. Shading on the areas of each glyph that are “behind” others enhance the three-dimensional qualities of the font.
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The “e” is missing its counter
KEY FONT DETAILS • The cross strokes are double thickness in order to stay true to the limitations of real origami. • All glyphs are lower case.
NATURAL PARTNERS • Origami, by its very nature, is highly structured, so a structured sans serif will partner it well. Take a look at Eurostile, or perhaps Jeunesse Sans, if you want to combine Origami with running text.
THE ALPHABETS
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Cross strokes are double-thickness “folds”
ORIGAMI
ORIGAMI
Start with strips of paper...
Fold, fold, and fold again... and maybe fold a few times more, depending on which letter you’re creating...
THE ALPHABETS
