A typeface created by: Iris Andrews
Minding the Pâ€™s and Qâ€™s
Numbers and Punctuation
The typeface Annabel was created from a strong love of type and Edgar Allan Poe’s literary works.. This love of type can be seen directly in the two typefaces Annabel is based on, Baskerville and Garamond. The typeface Baskerville was designed on the ideals of perfection and meant to relate simplicity and quiet refinement. Garamond was designed for sense of fluidity and consistency. Using the elements from these two typefaces as my basis, I wanted to create a typeface that would used for the work of Edgar Allan Poe. I was inspired by the dark poetic beauty of his works. From this and the base typefaces, I started sketching ideas for the letterforms. It needed to have a certain edge to it for the feeling of unease to creep into the viewer, but not from the typeface being awkward. I found the perfect way to express that feeling in the quote by Poe himself. “There is no exquisite beauty without some strangeness in the proportions.”
As the typeface was based on Baskerville and Garamond originally, the minuscule a was designed as a double storey a. I had issues with the curve of the bowl and the negative space in the character. It at first looked too narrow. I drew a lot of different designs trying to find the perfect balance that would work with my typeface. The double storey a in Garamond is a perfect balance of positive and negative space. After working through and drawing more designs I was still having issues. I had to figure out how to balance the character within the set widths. I finally drew a solution to the problem but the journey wasnâ€™t finished yet. Once I moved from drawn character to Illustrator, I encountered even more problems. I had to make the stroke weights match the other characters. The arch of the a was also extremely difficult to work with and make work with the other letterforms. I finally found the solution in the smoothness of the arch and the balance of stroke weights.
The second major challenge I ran into with Annabel were the curves of the minuscule letterforms of b, d, p, and q. I originally formed a curve that worked well with the b and the p but when I applied that curve to the d and q it felt odd. I began to work with the curves digitally and ran into more issues. When I fixed the d and q the curve did not work the same with b and p once again. After spending hours working in Illustrator, the paths finally begin to work with each other. I had to modify the curves on the d and q but the final minuscules worked well with the minuscules of b and p.
Published on May 2, 2012