This is the transcript of my talk at Typographics last June about the making of my (now-released) typeface, Gautreaux, edited for clarity in this medium. You can watch me in all my nervous glory here, but I wanted to make the written version available for anyone who’d find that useful. Enjoy!
Hi! I’m Victoria and I’m a type designer. I have a learning story for you about a script typeface. I happen to really like hearing people tell their learning-to-do-things stories, which is convenient for me because mainly the only stories I have so far are learning-to-do-things stories, so I guess I’m just interesting like that. I came to fonts via script lettering, and so I’m really into coming up with projects that help me to understand their distinctions and overlap. This one is about exploring what it takes to make some lettering into a font, the things that work and the things that break, and whether you want to make a font that obscures the clues that it is in fact a font, or as I ended up doing, tackle hug those issues into a chokehold. I’m going to talk to you about this one script font, right here, I’m sure you guessed. I’m going to tell you how I started, what I set out to do, and then about all the details I’ve screwed up and then fixed. Okay, here we go. Continue reading
This time four years ago, I was scrambling to finish the semester’s final projects in my senior year of college. In other words, highly suggestible to distractions. I was chatting with my mother on the phone, already a distraction, and she mentioned in passing the idea of making advent calendar numbers out of gingerbread. To which I was like, I will drop everything to complete this task IMMEDIATELY.
I’ve done it again every year, always drawing my own brand new set of numbers and executing them in cookie and icing. For the fifth year, I thought I’d tell you all about my
Type A bullshit tips and tricks and secrets for how to do it from start to finish, should you wanna plan to decorate cookies for your roommates or family this year, or have an outing to avoid.
Some very sped-up drawing, for your vector-scrutinizing pleasure. My favorite parts, if you can catch them, are when I realize halfway through that the ascender tops are leaning the wrong way, and when my boyfriend’s iMessage pops up with some solicited feedback that the “a” and “l” are too close together.
Music is Jenny by the bird and the bee.
Here’s the deal with describing type or lettering as feminine or masculine:
This is my simple request. If you already have an inkling about why this might be an issue and think it’s a reasonable request you can handle, awesome, no homework for you today. But if not, take my hand.