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princeton architecur al press 路 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 KOCIGKPHQTOCVKQPCPFVJCVoUYJCVYGoTGCNNCDQWV+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\KPIKVVCMGURTCEVKEGDWVJQRGHWNN[

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 URGEKOGPUJGGVUQHEQWTUGKPHCEVKVoUGCUKGTVQ 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 148â&#x20AC;&#x201C;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

CDUVTCEVNGVVGTHQTOUVJGPPQRTQDNGOKVoUȧPGVQ

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.

â&#x20AC;˘

All glyphs are solid blocks

KEY FONT DETAILS â&#x20AC;˘ None of the glyphs feature counters or eyes. â&#x20AC;˘ Some lower case glyphs, such as the â&#x20AC;&#x153;s,â&#x20AC;? echo the upper case forms, while others contain slightly more detail.

NATURAL PARTNERS â&#x20AC;˘ 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

â&#x20AC;˘

The â&#x20AC;&#x153;Sâ&#x20AC;? 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 itâ&#x20AC;&#x2122;s hovering in the air. The winglike embellishments vary in size and position from glyph to glyph, creating a charming sense of animated movement.

â&#x20AC;˘

Some glyphs have much larger decorative details

KEY FONT DETAILS â&#x20AC;˘ Counters are rounded for some glyphs (D, O, P, and Q) and squared for others (A, B, and R). â&#x20AC;˘ Cloud embellishments mean letter spacing must be kept very loose.

NATURAL PARTNERS â&#x20AC;˘ 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

â&#x20AC;˘

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 â&#x20AC;&#x153;sketchedâ&#x20AC;? look associated with Ralph Steadman. A double line at the end of the stems and cross strokes form serifs.

â&#x20AC;˘

Counters are completely solid wherever they occur

KEY FONT DETAILS â&#x20AC;˘ Counters are completely solid, meaning some glyphs appear to be much bolder. â&#x20AC;˘ The tail of the â&#x20AC;&#x153;Qâ&#x20AC;? is formed from the same double line style as the serifs. â&#x20AC;˘ Lower case â&#x20AC;&#x153;aâ&#x20AC;? has no serifs.

NATURAL PARTNERS

â&#x20AC;˘ 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

â&#x20AC;˘ Some lower case glyphs lack serif details


STEADMAN




STEADMAN



THE ALPHABETS


DRAW YOUR OWN

STEADMAN




SCIENCE LESSON

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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 â&#x20AC;&#x153;moleculeâ&#x20AC;? to join each stroke formed by hand-drawn rules. At ďŹ rst glance, the font appears to be monospaced, but it is, in fact, proportional.

FONT FEATURES â&#x20AC;˘

The â&#x20AC;&#x153;Bâ&#x20AC;? is formed from diagonal, vertical, and horizontal strokes

KEY FONT DETAILS â&#x20AC;˘ The â&#x20AC;&#x153;Bâ&#x20AC;? is formed from diagonal, vertical, and horizontal strokes to avoid potential misidentiďŹ cation as an â&#x20AC;&#x153;8,â&#x20AC;? which is formed from only diagonal strokes. â&#x20AC;˘ The â&#x20AC;&#x153;Qâ&#x20AC;? is the only glyph with strokes that cross without a linking molecule element.

NATURAL PARTNERS â&#x20AC;˘ The scientiďŹ c theme of this illustrative font should be carried through to accompanying text using fonts such as DIN or Neotech.



THE ALPHABETS

â&#x20AC;˘

Strokes cross without a linking â&#x20AC;&#x153;moleculeâ&#x20AC;? 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 â&#x20AC;˘ The leg of the â&#x20AC;&#x153;Râ&#x20AC;? terminates slightly above the baseline. â&#x20AC;˘ The lower bowl of the â&#x20AC;&#x153;Sâ&#x20AC;? is much larger than the upper bowl.

â&#x20AC;˘

The lower bowl of the â&#x20AC;&#x153;Sâ&#x20AC;? is proportionally much larger

NATURAL PARTNERS â&#x20AC;˘ Donâ&#x20AC;&#x2122;t be tempted to pair any typeface with a â&#x20AC;&#x153;cartoonâ&#x20AC;? look to this font. Try bolder sans serifs, such as Franklin Gothic or Lucida Sans.



THE ALPHABETS

â&#x20AC;˘

The leg of the â&#x20AC;&#x153;Râ&#x20AC;? 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 speciďŹ c potential usage, Origamiâ&#x20AC;&#x2122;s structure closely follows paper-folding rules. Shading on the areas of each glyph that are â&#x20AC;&#x153;behindâ&#x20AC;? others enhance the three-dimensional qualities of the font.

â&#x20AC;˘

The â&#x20AC;&#x153;eâ&#x20AC;? is missing its counter

KEY FONT DETAILS â&#x20AC;˘ The cross strokes are double thickness in order to stay true to the limitations of real origami. â&#x20AC;˘ All glyphs are lower case.

NATURAL PARTNERS â&#x20AC;˘ 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

â&#x20AC;˘

Cross strokes are double-thickness â&#x20AC;&#x153;foldsâ&#x20AC;?


ORIGAMI




ORIGAMI

Start with strips of paper...

Fold, fold, and fold again... and maybe fold a few times more, depending on which letter youâ&#x20AC;&#x2122;re creating...



THE ALPHABETS

Draw Your Alphabets  

There are many ways to make your writing feel more personal, but none carries the charge of using a custom-drawn font. Draw Your Own Alphabe...

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