“The whole of man is in the alphabet.”
— Victor Hugo
“Letters have a mysterious and cabalistic quality that has been recognised at least since Roman times. As the building blocks of words, and thus of languages, their magic has inspired artists throughout the ages. The illuminated initials of medieval manuscripts, ranging from Romanesque exuberance to Gothic excess, paved the way. Here were not only biblical scenes but mythical beasts and human figures that were the direct precursors of the zoomorphic and anthropomorphic alphabets of the Renaissance and later. Ornamented letters presented historical and mythological events, romantic landscapes, trees, flowers, buildings, clowns, devils, naked figures, street cries, children and every kind of animal.”
— The Animated Alphabet, Hugues Demeude, 1996, New York
At Juliasys Studio we’ve been working for some time now on a digital handwriting style for the “NIVEA” brand of Beiersdorf AG. “NIVEA Care Type”, as we are calling the new OpenType font, is understood to be the imaginary handwriting of the NIVEA brand persona, the “NIVEA Woman”. Care Type on product packaging and in marketing material has the function to subtly present the NIVEA Woman personality in the look and feel of the brand. Care Type is to be used prominently but at the same time sparingly, “with caution”.
Figure 1: A century of typographical metamorphosis on the legendary NIVEA tin
Some examples of playing with different tools.
Despite our political turmoil this year I was determined to stay focused on positivity and ultimately, the things I could control. A long season of learning more about lettering and type design has been one of my professional goals for some time now. I’ve always had an interest/love affair with letters but often find myself in a state of imposter syndrome with it. I focused on exploration, finding communities where I felt comfortable creating work and asking questions, and more importantly, I wanted to keep it relatively casual. I didn’t want to go back to this idea of not knowing what I was doing and feeling like it didn’t count as real lettering or type design.
I’m fortunate enough to work for a company that offers five days of creative renewal, and when I looked at the offerings, I jumped at the opportunity to take a couple of lettering workshops and a Type Design workshop co-lead by a fellow Alphabette, Lila Symons.
Few examples of the felt letters and hiragana. From left to right, top to bottom: O す り V / W R ふ か / る い S Z
Students learn best if they enjoy and love what they do. Besides all the learning and assignments, I regard it as essential that they develop passion and joy for their profession. Suffering becomes visible in design, while the joy of creation lets the outcome (no matter whether type, book or graphic) look light, simple and natural.
Some students struggle to develop this joy in the context of class assignments. I have been teaching at a women’s college in Kyoto, Japan since April 2017. And it is sometimes hard to judge whether the young women are actually enjoying their studies or not. Sometimes, we require input from an outsider, as well as a situation that is out of the ordinary. So we held a workshop on a Saturday, run by the Japanese design studio Dainippon Type Association, to trigger the passion of the students.
We are Alja Herlah and Krista Likar, enthusiastic and passionate type designers from Slovenia. As members of the TipoBrda society, we got the opportunity to organize a type design workshop. Type Days 2017 – a one week long workshop – was already the 31th type design workshop organized by Tipo Brda in Slovenia. It took place in Ljubljana in the House of Reading and Writing, Vodnikova domačija Šiška. This year, we invited a guest mentor Adam Katyi, Hungarumlaut, who shared a lot of valuable tips and guidelines he learned while studying at the Type and Media program in The Hague.