TYPEFACE FAMILY TYPOGAMA TYPE FOUNDRY

Transcription

1 FAMILY TYPOGAMA TYPE FOUNDRY

2 Page 2 Page 3 By Michael Parson Martinaz typeface family While walking through Geneva, I came across an old tailor that seemed specialized in curtains or other outdated motifs, but his shop window featured quite an interesting script design. As I was in the middle of a design project that required quite a bold, heavy script to be used with photographs as backgrounds, I decided to create my own script form based on those few letterforms from the shop window. I found work on the lowercase forms quite straightforward except for the challenges of letters like the s or r. Should I stay true to a cursive, linked letterform or work towards more conventional forms that I know many of my clients prefer for their legibility. I finally decided to focus on a more commercial and functional style since it would allow a greater use for the typeface. Martinaz Typeface Designed by Michael Parson February 2015 Copyright Typogama / Parson Research

3 Page 4 Page 5 But the bigger challenge lay in the capital letters that I often find difficult in script typefaces since their basic form is rarely well suited for an all capital letter setting that certain people employ, despite it being rarely recommended by the designers. I would either create subdued forms that would allow all capitals, or then focus, as I eventually decided to do, on creating letterforms that where a bit more extravagant and aimed to be used with a following lowercase letter. The resulting design is a bold, dense typeface that is filled with personality while remaining very legible, but this first phase would only be the start of the exploration! BASE LETTERS LATIN GLYPHS ACCENTS ACCENTS A B C D E F G H I J K L M N O P Q R S T U V W X Y Z a b c d e f g h i j k l m n o p q r s t u v w x y z Å À Ã Ä Á Â Ç Đ È É Ê Ë Ì Í Î Ï Ł Ñ Ò Ó Ô Õ Ö Ø Š Ù Ú Û Ü Ÿ Ý Ž Þ á â ã ä å à ç è é ê ë ì í î ï ı ł ñ ò ó ô õ ö ø š ù ú û ü ý ÿ ž þ ð ß ` ˆ ˇ

4 Page 6 Page 7 Retro Scripts survive - LIGATURES Come Alive with us - LIGATURES Hello everybody, how are you? - LIGATURES Welcome to the Urban

5 Page 8 Page 9 PUNCTUATION ISO1 FRACTIONS TABULAR NUMBERS OLDSTYLE NUMBERS MONETARY SYMBOLS / \ + ± ~ - - = % *., ; :... < > [ ] ( ) { } - _ & # Ω π ¹ ² ³ ¼ ½ ¾ $ < > ( ) [ ] { } LIGATURES DISCRETIONARY LIGATURES fi fl œ æ Æ Œ AF AFT EA EV EW EX EY FT GE GH HA HE TH THE TI TT TTI Af Aft Ai Aj At Att Ax Ay Ef Eff Ei Ej Et Ev Ew Ex Ey Fi Fj Ft Fy Hi Hj Hu Hy My Ry ax ee ef eff et ex ff ffi ffl fj fr ft gg if mm ri rn ry ti tif tj tt tti tty tv tw twi ty ut vi wh wi wit A B C D E F G H I J K L M N O P Q R S T U V W X Y Z f g h k m n r t y z & fi fl gy ty yp typ kn na ne no nu ni nn

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7 The seats were higher in the back of the room, and the more advanced and longer-legged pupils sat there, the po greatly to be envied, as they were at once nearer to the windows and farther from the teacher. There were class although nobody, broadly speaking, studied the same book with anybody else, or had arrived at the same degree in any one branch of learning. Rebecca in particular was so difficult to classify that Miss Dearborn at the end of up the attempt altogether. She read with Dick Carter and Living Perkins, who were fitting for the academy; rec with lisping little Thuthan Thimpthon; geography with Emma Jane Perkins, and grammar after school hours to Mi alone. Full to the brim as she was of clever thoughts and quaint fancies, she made at first but a poor hand at com - 12PT The seats were higher in the back of the room, and the more advanced and l legged pupils sat there, the position being greatly to be envied, as they were nearer to the windows and farther from the teacher. There were classes of although nobody, broadly speaking, studied the same book with anybody els arrived at the same degree of proficiency in any one branch of learning. Re particular was so difficult to classify that Miss Dearborn at the end of a fo gave up the attempt altogether. She read with Dick Carter and Living Per who were fitting for the academy; recited arithmetic with lisping little Thuth Thimpthon; geography with Emma Jane Perkins, and grammar after school - 18PT The seats were higher in the back of the room, an more advanced and longer-legged pupils sat the the position being greatly to be envied, as they we at once nearer to the windows and farther from teacher. There were classes of a sort, although n broadly speaking, studied the same book with an - 28PT le schoo REGULAR 200PT Page 12 Page 13 agpole on to REGULAR 135PT ors in front, one REGULAR 90PT for girls, stood on th REGULAR 68PT fields and meadows roll REGULAR 51PT

8 Opentype features As a script typeface, it was only natural that this font would feature a range of Opentype features, thus offering a larger range of forms with which to play. Having started with a quick demand, I had initially only focused on the base forms, but the Opentype exploration would become a huge part of the overall work for this typeface. The first feature is the use of ligatures and discretionary ligatures for a series of letter combinations, from the standard fi to the more original double f. These features will help solve a stroke conflicts or other difficult form compositions. A further enhancement can be found by using the Swash feature that automatically replaces all the capital letters with more decoratif and flamboyant terminals. Then a few common lowercase forms are equally available in a couple of styles, either at the extremes of words or for use inside a string of text. These alternative letters are an added value for any designer who can select the best shape for the required layout. Finally, a few added swash ligatures where included that can be swapped with the traditional forms. filigatures Page 14 Page 15 fi office time Opentype was also used to offer two sorts of numbers, either the standard tabular forms or a secondary, old style set of numbers that works better with the lowercase letters, these are easily accessed through the Opentype panel. A final addition, to assist in text layouts, was to hide a few special symbols in the swash features, typographic fleurons. These symbols are designed to work as frames for the typeface but can also be isolated as logo forms, like used below. LIGATURES flash type LIGATURES

9 Page 16 Page 17 - STANDARD AND OPENTYPE FEATURES

10 Page 18 & & & ALTERNATE Page 19 STANDARD Variations Style Things Brought o you b Type Design

11 Page 20 Page 21 Script typography - 149PT At the last pair of bars the two girls were sometimes met by a detachment of the Simpson children, who lived in a black house with a red door and a red barn behind, on the Blueberry Plains road. Rebecca felt an interest in the Simpsons from the first, because there were so many of them and they were so patched and darned, just like her own brood at the home farm. The little schoolhouse with its flagpole on top and its two doors in front, one for boys and the other for girls, stood on the crest of a hill, with rolling fields and meadows on one side, a stretch of pine woods on the other, and the river - STANDARD LETTERS - 27PT At the last pair of bars the two girls were sometimes met by a detachment of the Simpson children, who lived in a black house with a red door and a red barn behind, on the Blueberry Plains road. Rebecca felt an interest in the Simpsons from the first, because there were so many of them and they were so patched and darned, just like her own brood at the home farm. The little schoolhouse with its flagpole on top and its two doors in front, one for boys and the other for girls, stood on the crest of a hill, with rolling fields and meadows on one side, a stretch of pine woods on the other, and the river - STANDARD AND OPENTYPE FEATURES - 27PT

12 Page 22 Retro Style Page 23 Not Only Fights break out LIGATURES Retro Style Not Onl Fights break out Alternate LIGATURES Question LIGATURES Alternate Question

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15 eacher s desk and chair stood tform in one corner; there wa uth stove, never blackened oft once a year, amap of the Uni s, two black-boardsil of water and long-handled a ten- er on a corner r shelf, and woo Available at 28pt Page 29

16 Page 30 After the Merry Days ( Holidays ) All in love 1969 Martinaz Typeface by Michael Parson 1 weight Display Specimen Layout: Michael Parson Text & visuals: Michael Parson Font used: Martinaz Longer text & notes set in Helvetica Neue. February 2015 Copyright Typogama / Parson Research

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