11 Development 13 Majuscules 15 Miniscule 17
19 Punctuation 21 Examples
Matterhorn is the official typeface for hiking and trails on Matterhorn Mountain, Switzerland. It is graceful and strong while still retaining its functionality as a readable typeface for would-be hikers along the lower trails and paths of Matterhorn Mountain and the surrounding area. Designed to be used on signage, maps and hiking guides for use around the mountain, Matterhornâ€™s whole purpose is to guide and direct the hiker or traveller. Matterhorn is meant to be read without distracting the reader from his current task, but it is still a beautiful and strong typeface. With its tall crossbars and cap heights, Matterhorn mimics the style of a mountain range, the majuscules towering over the minuscule creating a contrast that helps define and refine the typeface.
Matterhorn is based on Futura, a geometric typeface, but it has been redesigned into a humanist typeface while still carrying many geometric qualities. The tall crossbar height found in the majuscules comes from the humanist perspective, which I used in an unconventional way. What makes a humanist typeface humanist is the use of an x-height with a ratio of .07 from the golden ratio. I decided to use a different selection of the golden ratio for my cross-bar height while still maintaining the .07 x-height. I chose a ratio of 0.016 to be the cross-bar height of the majuscules to give them a more extended and taller feel.
Some of the issues I came across in the designing of this typeface are the issues with weight and shape. This set me back a long time since I had trouble making each letter uniform and similar but still different enough to be its own unique being. I also struggled with the angle of the Majuscule A. Since I based my letters such as M, V, W and X off of the A, the angle of the letters were all slightly skewed as well as having an awkward weight. I fixed this by re-pathing all of the angles for the A and the V, this time with a guide behind it to help the angles come out correctly.
The angles of the O were an issue for me as I began to design this typeface, but as I worked and refined it the O became a strong point, which helped me move forward in my development. At first the curves of the O were much too round as I tried to mimic the style of Futura too closely. I was trying to keep all my shapes circular while still maintaining a very tall height. This, unfortunately, did not work out. It made all the letters much too wide and round to flow well together. I reworked the O to have a more angular and square curve that allowed for the letters to sit next to each other much better.