![]() In keeping with the practical applications that I imagined the typeface might have, there would be a set of ornaments: heavy, brushy frames for use with the poster version in packaging design or signage, and elegant flourishes for use with the text version to decorate chapter headings or title pages. There would also be a text version with fewer alternate letterforms, but with multiple weights and figure styles. My experiences from a workshop with Italian calligrapher Luca Barcelona and a workshop on lettering techniques with Ken Barber allowed me to understand how brushes react to speed and rhythm, factors that later shaped the characters of Supernova.ĭuring this first stage of the process I defined the basic shapes of the letters as well as the structure of the family as a whole: there would be a poster version with several alternates for upper- and lowercase characters, plus various figure styles. In general, the letterforms are based on the model of pointed brush calligraphy. I did not use specific theoretical or historical references while working on this typeface, but many sources of inspiration came together during the design process. Supernova takes a step in a different direction and was conceived as a script typeface family comprised of several weights and cuts, including a versatile, eye-catching display version and a highly legible body-text version with five weights. Their application has continued to be primarily linked to their emotional attributes, while roman types predominate in body texts. Since then, the development of script typefaces has largely been limited to variations in shape and proportion (and with the advent of OpenType technology, the addition of alternate letterforms). Roman typefaces began to develop into families containing a variety of weights, while script typefaces were cut primarily for display purposes in one style and weight. The Industrial Revolution changed this, however, as printing methods were influenced by mass-production techniques. ![]() Page of a book printed in Civilité, Den uutersten wille van Lowijs Porquin One well-known example is Civilité, a typeface by Robert Granjon based on his own handwriting and thought to be one of the first scripts cut in lead for letterpress printing. In the 18th century, connected scripts were considered to be optimal for this purpose due to their origin in handwriting, and were widely used to set books. They use accompanying text typefaces, generally at smaller sizes, to convey more verbal information.Īlthough historical developments in typography have trained contemporary readers to expect extensive blocks of text to be set in roman types, this was not always the case. Designers use script faces, generally at larger sizes, for their emotional qualities and their illustrative value when designing brands or magazine headlines. Text typefaces, on the other hand are designed for maximum legibility, focused on creating consistent, repetitive shapes in order to make every character easily recognisable and create an even colour over large blocks of text. The design principles of script typefaces and text typefaces are different, in a way perhaps even diametrically opposite: script typefaces generally aim to emulate the spontaneous rhythm of lettering or handwriting with its variable forms, terminals, connections and ligatures that create variation within word shapes. So I am pleased to be able to share not only my explorations, but also some fairly technical information with others who are working towards similar goals. It involved a lot of practical trial-and-error work rather than historical research since I was moving in a new direction and there were no similar projects to reference. ![]() ![]() The process of creating the typeface was both creative and instructive. But now that the project is finished, I can say that it was definitely worth it: the Supernova family successfully brings the flair of human handwriting not only to display text, but to body text as well. These are some of the questions I asked myself when starting this project back in 2010. Does the world really need another script typeface? Is there any room for real innovation, any gap still to be filled in the world of type design? Can this project be worth the time and effort I will have to invest in it?
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