Background
So this is a spiel, or what I’ll use to approximate lectures. This one is to help you understand some underlying technologies that influence typography. This is meant to help you think about the Shapely Letters project. The important things to keep in mind are:
- Type is made by people; type designers and require a significant amount of planning, conception and production.
- Type is more than a dropdown menu. There are other places to get type, other ways to think about type and you don’t have to treat selecting a font or typeface as a character select screen
do this once you know the frame data.
- This is a primer it is not meant to replace historically relevant material you may talk and learn about in Type 1 and 2.
Written Language
Before printing was widespread, communication relied on written language. The forms of writing influence the shapes that are produced.This is an example of cuneiform, one of the earliest forms of writing on Earth, from Mesopotamia. It is as you can probably tell carved into surface in such a manner as to produce the triangular, tapering forms.
Broad-nib pens (a flat or folded piece of metal you dip in ink) produce the even, readable textures we see in medieval manuscripts.
On the other hand, pointed nib pens (a pointed piece of metal that expands and contracts with pressure) produces the very decorative tapering and sharp forms we associate with Copperplate Calligraphy
A couple other examples of note here are Jon Wozencroft and Neville Brody’s Fuse magazine from the early 1990’s where they invited designers to create fonts based on a theme of that issue. The fonts were included on a disc with the magazine.
A more recent example here is Nat Pyper’s Women’s Car Collective font from 2020 based on printed examples of a lesbian car repair collective from the 1970’s