Typeface design is an art which could only live from its own rich history. Type revivals are a common things, from serious historically based on Garamond revivals to pseudo Helvetica, revival is a necessary step in a type designer’s professional journey. As it brings to the eyes of the typeface designers others shapes and references than its own personals vocabulary of forms.

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H1. Influence in type design?

Typeface design is an art which could only live from its own rich history. Type revivals are a common things, from serious historically based on Garamond revivals to pseudo Helvetica, revival is a necessary step in a type designer’s professional journey. As it brings to the eyes of the typeface designers others shapes and references than its own personals vocabulary of forms.

So, when you start a new typeface, you’re naturally influenced by your type designer environnement, by what others have designed today or in the past. Your design is your answer to something that you like, or in the contrary a style or specific concept that you want to fight against. Type design is an attitude. To better understand your own identity, you unconsciously position yourself to claim affiliation to one stylistic group or another.

When you initiate a new project, your design is mostly influenced by shapes of existing letterforms, simply because you start by something as: I will design a Garamond or a Slab serif, then, you will ask yourself more precise questions: Italian Slab or American Slab? At some point, you end up opening this large specimen you have in your library to confirm your impulse or more simply to look for a specific source. But as designer, your creative process is also influenced by other external elements such as music, reading, art exhibits, piece of design, nature, your cultural environnement, and so on. Unlike type classification, typographic historic references, it is more difficult to put words in order to explain non-typographic references. Typefaces are naturally a collection of letters to be read, but also a collection of abstract forms linked by common design elements. But how can you describe their shapes, and therefore your deep feelings that have made it possible to create an abstract form that marks your style? It’s challenging.

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H2. Influence in type design?

Typeface design is an art which could only live from its own rich history. Type revivals are a common things, from serious historically based on Garamond revivals to pseudo Helvetica, revival is a necessary step in a type designer’s professional journey. As it brings to the eyes of the typeface designers others shapes and references than its own personals vocabulary of forms.

So, when you start a new typeface, you’re naturally influenced by your type designer environnement, by what others have designed today or in the past. Your design is your answer to something that you like, or in the contrary a style or specific concept that you want to fight against. Type design is an attitude. To better understand your own identity, you unconsciously position yourself to claim affiliation to one stylistic group or another.

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H3. Influence in type design?

Typeface design is an art which could only live from its own rich history. Type revivals are a common things, from serious historically based on Garamond revivals to pseudo Helvetica, revival is a necessary step in a type designer’s professional journey. As it brings to the eyes of the typeface designers others shapes and references than its own personals vocabulary of forms.

‍

H4. Influence in type design?

When you initiate a new project, your design is mostly influenced by shapes of existing letterforms, simply because you start by something as: I will design a Garamond or a Slab serif, then, you will ask yourself more precise questions: Italian Slab or American Slab? At some point, you end up opening this large specimen you have in your library to confirm your impulse or more simply to look for a specific source. But as designer, your creative process is also influenced by other external elements such as music, reading, art exhibits, piece of design, nature, your cultural environnement, and so on. Unlike type classification, typographic historic references, it is more difficult to put words in order to explain non-typographic references. Typefaces are naturally a collection of letters to be read, but also a collection of abstract forms linked by common design elements. But how can you describe their shapes, and therefore your deep feelings that have made it possible to create an abstract form that marks your style? It’s challenging.

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Quote: Typeface design is an art which could only live from its own rich history. Type revivals are a common things, from serious historically based on Garamond revivals to pseudo Helvetica, revival is a necessary step in a type designer’s professional journey.

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“Quote + italic + “” Typeface design is an art which could only live from its own rich history. Type revivals are a common things, from serious historically based on Garamond revivals to pseudo Helvetica, revival is a necessary step in a type designer’s professional journey.”

— H6. Signature

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H4. Influence in type design?

H5. Typeface design is an art which could only live from its own rich history. Type revivals are a common things, from serious historically based on Garamond revivals to pseudo Helvetica, revival is a necessary step in a type designer’s professional journey. As it brings to the eyes of the typeface designers others shapes and references than its own personals vocabulary of forms.

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H6. Influence in type design?

H6. When you initiate a new project, your design is mostly influenced by shapes of existing letterforms, simply because you start by something as: I will design a Garamond or a Slab serif, then, you will ask yourself more precise questions: Italian Slab or American Slab? When you initiate a new project, your design is mostly influenced by shapes of existing letterforms, simply because you start by something as: I will design a Garamond or a Slab serif, then, you will ask yourself more precise questions: Italian Slab or American Slab? At some point, you end up opening this large specimen you have in your library to confirm your impulse or more simply to look for a specific source. But as designer, your creative process is also influenced by other external elements such as music, reading, art exhibits, piece of design, nature, your cultural environnement, and so on. Unlike type classification, typographic historic references, it is more difficult to put words in order to explain non-typographic references. Typefaces are naturally a collection of letters to be read, but also a collection of abstract forms linked by common design elements. But how can you describe their shapes, and therefore your deep feelings that have made it possible to create an abstract form that marks your style? It’s challenging.

‍

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Typeface design is an art which could only live from its own rich history. Type revivals are a common things, from serious historically based on Garamond revivals to pseudo Helvetica, revival is a necessary step in a type designer’s professional journey. As it brings to the eyes of the typeface designers others shapes and references than its own personals vocabulary of forms.

When you initiate a new project, your design is mostly influenced by shapes of existing letterforms, simply because you start by something as: I will design a Garamond or a Slab serif, then, you will ask yourself more precise questions: Italian Slab or American Slab?

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