Project: Guru Gomke
Designer: Pooja Saxena
Company: Matra Type
Team Members: Subhashish Panigrahi
Client: Centre for Internet and Society’s Access to Knowledge (CIS-A2K)
Link: Guru Gomke on Github
Pooja Saxena has designed some really nice Indic script typeface families (Farsan Gujarati and Cambay Devanagari for example), but I want to take a moment to shine a light on one particular project of hers.
Halfway through 2016, as I was finishing my undergrad Graphic Design studies, I became very interested in the idea of researching the relationship between language and type. Fortunately, I stumbled upon Bianca’s dissertation, which helped me greatly as I could build upon her thoughts, draw my own conclusions and hopefully design a typeface based on language as criteria.
This is the transcript of my talk at TYPISM Conference on September 30, about facing fear and getting out of your comfort zone. You can watch me losing my shit here, but I wanted to make the written version available for anyone who’d find that useful. Enjoy!
Hola! My name is Maria Montes and I am incredibly honoured to be here and share my journey with all of you.
First of all, thanks to Dominique, George and the entire TYPISM community for your ongoing support, it means the world to me.
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
In December 2015 I spotted an unconventional SKULL AND CROSSBONES ☠ [U+2620] on a passing truck transporting explosive goods in Gujarat, India. Needless to say I immediately demanded a whole set of emoji based on it, and needless to add nobody volunteered.
So here I am, a year later, trying myself as an emoji designer and simultaneously exploring possibilities of bringing this font to life. And that, I discovered, is a bottomless pit if I’ve ever seen one.
When I first started brainstorming header ideas, I knew I wanted to execute it by hand. There is something comforting in the unpredictability and uniqueness of a linocut print. During my time at Starbucks Global Creative, I had the opportunity to explore linocut block printing in quite a bit of my work. What interested me was mixing lettering and linocuts, much like letterpress.
Samples of my work from my time at Starbucks Global Creative.
In 2012 I discovered a great hidden treasure in Fitzroy North called Renaissance Bookbinding.
I walked in the shop and I was absolutely amazed by the fantastic collection of books, printing presses, metal and wood type collections, not to mention the wide knowledge of Nick Doslov, a great professional bookbinder who has been in the business for over thirty years, and whose love and passion for the trade is worthy of everyone’s respect.
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.
Autumn is serious business around here. During decorative gourd season, signs sit at every intersection directing weekenders and leaf peepers to the best apples, pumpkins and cider donuts in town. Most signs are pretty unremarkable. Except for these.
Hand painted with a distinct lettering style and wacky colors, they’re noticeable and lovely and always brighten my day.
I recently had a revelation. I’ve been staring at reverse-contrast typefaces for the majority of my life, and the fact that it materialized during my year at CooperType was no coincidence.
As a child/preteen, Saturday mornings were spent at my local reform synagogue in addition to one weeknight at Hebrew School (which I begrudgingly attended). At that point in my life, I had no knowledge of design or typography but developed the skills of reading and writing Hebrew in both classic and cursive form. It never occurred to me that the Hebrew characters looked different from other letterforms, the only contrast (pun intended) apparent to me was the fact that Hebrew is read from right to left as opposed to left to right.
Me reading my Haftorah portion during a Bat-Mitzvah rehearsal with my aunt, uncle and cantor looking on.