![]() ![]() ![]() The other project is a typeface for sub-Saharan Africa inspired by a Czech poster designer, and couldn't be more different in design or background. I'll be talking about two projects I'm working on: the first is an investigation of gesture and the commonality in which it expresses itself in various spaces around the world, and an attempt to translate this energy to typeface design. But what about the questions about where we get our typefaces from? With typeface design evolving culturally and becoming more inward-looking, there is a lot of talk about who gets to make type now. ![]() Why might fluency in the design of a given script be important, and how can immersion help? I will share my journey in learning how to design for the syllabary, the challenges that come with trying to understand an underserved script, and how immersion-research, community feedback, and lots and lots of drawing-has given me new eyes and a deeper connection to my roots.Ī talk about reference. But as a type designer, fluency in the design of the syllabary’s 86 characters feels within reach, and, as with language, I think the answer is immersion. The Cherokee language is incredibly complex, and, try as I might, I may never master it. As a citizen of the Cherokee Nation, this is where I’ve found myself with regard to the syllabary, our writing system. It’s second nature!īut many of us also have languages in our families that weren’t passed down to us, with scripts to which we feel deeply connected but may not feel entirely comfortable designing. Our fluency means that the basics-the shape of each character, the placement of thicks and thins-are never in question, making it easier for us to dive right in and experiment. Type designers take for granted our familiarity with the script of our primary language. ![]()
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