Freda Sack (1951–2019)

Portrait of Freda Sack

Freda Sack. Photo: Jason Wen

Freda Sack was a type designer and typographer who took an important lead in shaping the professional craft of type design and, through her work with the International Society of Typographic Designers (ISTD), helped to improve standards and to enhance educational opportunities in the field of typography. For anyone who did not meet her in person, you will almost certainly have met her typefaces, not least through the role her work played in giving typographical shape to the commercial landscapes of the UK and beyond.

A love of letterforms acquired during Freda’s time at Maidstone College of Art led her to an interview with Mike Daines, manager of the type studio at Letraset. He remembers, ‘a shy 21 year old, partly hidden by a long fringe’ who wanted to work on typefaces, but first had to gain union membership by starting as a photographic retoucher. An enduring character trait of Freda was her fiercely quiet determination and so she spent several months retouching, or as she puts it, ‘ruining her eyesight’ after which she was finally able to graduate into her five-year ‘apprenticeship’ into type design and stencil cutting.

Her freehand stencil-cutting skills and accuracy for interpretation are the stuff of industry legend. As her former colleague David Quay recalls, she had the remarkable ability to look at any letter or alphabet and say immediately what was, ‘badly drawn or too heavy, too wide or narrow within half a gnat’s whisker! An uncanny skill I have never seen in another type designer.’ For Freda, however, it wasn’t just about sharpness of eye. As she put it, ‘That would only mean I might be able to see something was wrong, but wouldn’t necessarily know how to make it right. What is important is to have the understanding of the structure and proportions of the letterforms, and the ability to know when a curve or a shape is ‘wrong’, and what is needed to correct it. This, I believe, is a direct result of an innate relationship with letterforms gained from analysis and then the physical process of creating them (hand/eye/brain). The ‘right’ shapes become learned in the process. I think that’s why I tend to still hold a pencil when art directing, or even just talking about type – the tactile memory is important.’

As her reputation and portfolio of designs grew so did her opportunities and international standing. A position from 1978–80 with Adrian Williams at FONTS/Hardy Williams Design added to her repertoire a series of text faces for the German foundries Stempel and Berthold, and also Linotype, in addition to corporate commissions for the British Post Office and Renault. Returning to Letraset in 1980, though this time working from their London studio, she was involved in the development of a range of new digital types and in the development of the Ikarus digital design software, travelling to Hamburg to work at URW with the developers to help make the systems more visually intuitive and user-friendly for type designers.

In 1983 she set up by herself and quickly made her own mark in the world of designing marks for corporate design and brand identity, designing typefaces and logotypes for many of the leading agencies and for clients such as British Airways, and Vauxhall. It was a time of collaboration too. Walter Tracy and Shelley Winter invited Freda to help them with The Daily Telegraph newspaper headline typefaces. Tracy was also a consultant at Letraset, and Freda worked with him on a range of Letraset Arabic faces, having also worked on other scripts while still with FONTS.

With lettering designer David Quay she set up The Foundry, an early independent digital type foundry. The introduction of the Mackintosh computer in 1984 had changed everything. Before the Mac a type designer had to submit their designs to other type manufacturers for them to release but with the Mac came the possibility of being able to publish your own typefaces with absolute control over what you created. It is testimony to the pioneering spirit of Freda and David that they were able to simply name their new independent business The Foundry, as in 1990 there were so few others to distinguish themselves from. Classic faces such as Foundry Wilson and Foundry Sans were accompanied by experimental revivals such as the Architypes series celebrating the Bauhaus and Foundry Gridnek, a collaboration with Dutch designer Wim Crouwel. Alongside their retail fonts The Foundry continued with custom designs including typefaces for British Gas, NatWest Bank, the Science Museum, Lisbon Metro, Brunel for mainline UK railway stations, and a D&AD award-winning typeface for the Yellow Pages.

The more successfully some individuals manage to grow their business, the more remote they can grow from the grass roots communities within design. Quite the opposite would be true of Freda. The more she gained in terms of recognition and success, the more she seems to have been energized to give and to support others. Many owe her a considerable debt in terms of the example she set, and for the encouragement she offered. Former junior designers at The Foundry such as Jason Smith (FontSmith) and Henrik Kubel (A2-Type), who now run their own successful foundries speak with great affection of the mentorship that Freda gave. Though Freda’s generosity also extended outside of her own business. With Quay she was a founder member of the Letter Exchange, and she was an invaluable member too of the ISTD: Co-chair (with Quay) from 1995–9; Chair from 2000–4, President-elect in 2004 and President in 2006–10. The main focus for her efforts was on promoting the value of typographic education and through the organization of lectures and exhibitions, she did much to promote design, becoming a catalyst for the celebrated Wim Crouwel show at the Design Museum in London (2011). She also oversaw the flourishing of the student assessment and international award schemes, and was able to take her passion for typographic education abroad, something which gave her enormous personal satisfaction. She worked with students at colleges across the UK but was especially proud of having participated in the first design conference held in Karachi, Pakistan and for many years she worked with the ISTD in South Africa. Her exceptional contribution to the society was recognized last year when she was awarded an Honorary Fellowship.

She was then someone who could make things happen, though always in the most charming of ways, with her polite firmness perfectly checked by her witty congeniality. She was an incredibly accomplished designer, her skills helping to bridge the analogue and digital type technologies that gave shape to her career. She was stylish too, distinctive but never aloof. Her warmth, interest in others and accessibility were exemplary. And all achieved in a field with a reputation for being very male-dominated. Freda did not like to be singled out as a woman for her achievements, always preferring to be appreciated on the basis of merit. That I should have grown up within the design community understanding that her achievements could be the norm is, however, for me and many others, one of the most important aspects of her life and her legacy.

When I think back to the conversations shared with her it never occurred to me that one day I would be writing up a set of notes on her life following news of her death in February – she always had such a vital sparkle in her eyes as she smiled, which she did a lot. Freda always took such good care of things – her health, her work, those around her. It is a privilege to pay some very small part in taking care of her memory.

An event is being planned in the UK to celebrate her life later in the Spring.

 

An interview with Freda Sack by Catherine Dixon was published in issue 3 of Codex, here in PDF-form (designed by Linda Florio and edited by Paul Shaw and John Boardley).

Thoughts on ATypI Working Seminar Colombo

ATypI Working Seminar Colombo 2019 written on a banner with some branding design

The 9th ATypI Working Seminar was held in Colombo, Sri Lanka on the 22-23rd of March. This seminar comes 27 years after the previous one, held in Budapest in 1992. Sri Lanka becomes the first country to host it where Latin letterforms are not used in its primary languages of communication. English is, of course, an official language spoken and used along with Sinhala and Tamil, but only these last two are national languages. This is significant because it shows that ATypI recognises the importance of engaging with voices from countries who may not have the resources to attend the main conference in countries where the cost of conference tickets, flights and stay as well as currency exchange rates along with visa regulations make attendance difficult.

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Graphic memory & transferable drawers — Talking with Elena Veguillas

After a long break, we are returning with the interview series. I am well aware that life is busy and that you probably feel like there is much to do in all areas in life. It’s rare to see someone focusing only on one thing, and structuring the days with a single repeating activity. It is the combination of different activities that make our lives unique and interesting, and so very often, we clearly see how one action in our days affects the other in a big pile of, well, life.

Elena’s name pops up whenever someone mentions writing, research, design, and publishing. She is a woman of many traits that made me fascinated by how in reality this works for her.

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Cover design: Víctor Viano

When man resolved to imitate walking,
he invented the wheel, which does not look like a leg.
 Apollinaire

Victor Viano

A couple of years ago, I had the honor of presenting a lecture at Columbia University regarding my research on Venezuelan editorial design and a draft of research on its book history. It is no coincidence that I live in New York now since Venezuela’s editorial design began here, where Francisco de Miranda, one of Venezuela’s founding figures, managed to get a press assembled and took it to Venezuela in the early 1800s.

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24-hour Hangout for International Women’s Day 2019

Most of our Alphabettes-related schemes start like this: someone suggests something crazy, logistically nightmarish or technologically complex and instead of doing the sensible thing (taking time to think it through), we forge ahead.

So tomorrow, Friday, March 8, 2019, International Women’s Day we’re planning a 24-hour Google-Hangout-session and you’re all invited. (Well, roughly Friday, depending on where in the world you are). We’ll start earliest Friday morning 00:01 EST (that’s 6am central European time, get your converter tables out!) and we’ll continue until 23:59 EST.
Join in when it’s convenient, leave when you need to, and check back in later. What will we talk about? Who will be there? Where will we be BROADcasting from? We don’t know yet!

All done! Thanks for joining us!

Rather than provide you with another list of typefaces by women (there’s plenty of those lists already), or spout the historical and contemporary contributions of women in type and the lettering arts (we do that a lot and many others do, too), we thought it’d be fun to have real conversations about our daily life, work, location and whatnot, answer questions or show you what we are occupied with. (Video possible but just audio is fine.)

Keep an eye on this spot and Twitter for the link or any updates and help us spread the word! WOMEN = FUN
 

* Participants must follow our code of conduct.

WOMEN = FUN

Playing With the Glossier Play Logotype

I really like trying to reverse engineer the ways people have taken type into their own hands. Often it’s something simple, like adding an outline to make it heavier, or adding flourishes that don’t exist in the original typeface. Sometimes it’s several things. It soothes me, like taking a simple machine apart, seeing how it works, then knowing how to put it back together. I also sometimes like to redraw logotypes and typefaces to see if I can improve upon them, for similarly cathartic reasons. I mostly keep quiet with this, because being like, “HERE’S how I would’ve drawn this BETTER THAN YOU,” while knowing next to nothing about the client, their vision, or any number of constraints that inevitably exist behind the scenes, almost always makes you sound like the biggest tool.

THAT SAID. I’ve gotta talk to someone about the logotype for the new Glossier brand, and I don’t have a therapist rn.

Courtesy of Glossier

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A few thoughts on our first Greek header

This week’s header started with a conundrum: to transliterate, or not to transliterate? In this case there were two main reasons not to. First of all, the word Alphabet is Greek, literally a portmanteau of άλφα and βήτα (alpha and beta) – like saying the ABCs. Given this, it felt wrong to use Greek letters but spell it according to how it sounds in English. Secondly, the Greek writing system does not have a letter to represent the Latin b sound. In fact, the word βήτα (beta) is actually pronounced VEE-ta in Greek. The b sound is not native to the Greek language and is most commonly found in words of foreign origin. In those cases the sound is created by putting two letters together – μ (m) and π (p). Alphabettes transliterated would therefore become Άλφαμπετς. Instead, and read aloud with me – our Greek header is pronounced Alpha-VEE-tess.

When I finally decided how to spell the word (half the battle!), I was ready to work on the design. This was my first attempt at digitizing Greek letters. Though I have an advantage as a native speaker, there was a challenge once I had to make basic decisions about proportions and spacing. The letters were digitized in Robofont but I first worked on paper, and the resulting design is based on brush pen strokes.

My first exploration of the forms through casual handwriting

Final sketches with the brush pen before digitizing

Since most typefaces out there that support Greek are large “workhorse” families, it is rare to see modern experimental Greek typefaces or lettering. A project like this gave me the freedom to try something that may never be used and experiment beyond function. Some of the movement in the forms mimics the way I would write these letters, but it is mostly just a weird design – and I enjoyed the exploration!