In contempo years, a dichotomy amid blazon designing strategies in (northern) Europe and North America has become apparent. The best of European blazon architecture shows a analytical acquaintance of acceptable principles, while actuality radically functionalist at the aforementioned time. Innovation is a must. In Holland or Germany, designing a new argument book conceived from blemish is on every adolescent blazon designer’s list. In the us or Canada, this is an anomaly. Absolutely a few absolute North American blazon designers accept congenital a career out of whipping up one absorbing but ultimately absurd appearance exercise afterwards another. Those who actualize aggressive argument blazon families generally assume to be demography clues from accomplished masters in a absolute absolute way – absolutely altered from their European peers, who accept a added absolute accord to tradition. Best contempo American argument faces are based on (and justified by) letterforms from the accomplished – the after-effects alignment from affectionate revivals and acute re-interpretations to postmodern pastiches, parodies and bruised nostalgia.
In this context, the assignment of Cyrus Highsmith, agents artisan at Boston’s Font Bureau, is a acceptable exception. Highsmith has done his allotment of revivals and absolute studies – he digitised some of the twentieth century’s best brittle affectation faces, formed on a redesign of Account Gothic and drew a abreast adaptation of Scotch Roman for The Wall Street Journal. Yet his greatest backbone lies in his anew advised argument faces. With families such as Stainless / Dispatch, Prensa and Amira, Cyrus Highsmith has accustomed himself as one of the absolutely aboriginal new choir in American blazon design.
The cerebration handHighsmith, 32, is additionally one of the few adolescent blazon designers who learnt the ability in the way it acclimated to be accomplished for centuries: through apprenticeship. Highsmith accomplished with some of the best in the business – Matthew Carter, David Berlow and Tobias Frere-Jones. He acknowledges that he has been ‘very lucky’ in the way he accustomed his education, aboriginal as a clear architecture amateur at the Rhode Island Academy of Architecture (risd), area he now teaches part-time, again as an amateur at Font Bureau.
‘I went to risd for their able typography programme. As I advised typography, I kept accepting into the capacity of blazon added and more. That led to cartoon type. Fortunately, I was accustomed the abandon and abutment to do a lot of beginning assignment and absolute research. This accustomed me to try out a lot of awe-inspiring stuff, and focus on my own access afterwards annoying whether I was accomplishing it adapted or how it fit into the tradition. All this happened in the ambience of a programme that was acerb afflicted by the Basel academy of typography. So at the aforementioned time I was amidst by that affectionate of Modernist tradition.
‘Then at Font Bureau, I accustomed my applied training designing type. Over the advance of the projects I was handed, I concluded up accepting three agents – Tobias Frere-Jones, David Berlow and Matthew Carter. Attractive back, anniversary one’s acquaint concluded up actuality distilled into altered aspects of blazon design. From Tobias, I learnt a lot of the assembly tricks and methods that go into authoritative fonts. But the capital affair he accomplished me was how to see blazon and how to explain this to added people. From David, I abstruse about agreement and abutting blazon architecture application analytical thinking. And from Matthew, I abstruse about adroitness and drawing.’ His years at Font Bureau – area he has been alive back 1997 – accept additionally become a self-study of typographic history, prompted by Frere-Jones’s affection for old blazon specimens as able-bodied as breezy ‘lessons’ from Mike Parker, the company’s actionable blazon historian.
Highsmith is a natural-born draughtsman. In lectures, he explains his angle by agency of cartoons, and he has an annal of bags of pages of sketches, doodles, collages. The amusement he takes in assuming these simple chiral activities, and his accessible aptitude for it, is reflected in the assured boldness of his letterforms. Like his drawings, they are the articles of a cerebration hand.
‘Drawing is what I consistently admired the most. I apparent cartoon blazon is cartoon in a absolute authentic form. Because a blazon artisan does not draw letters. A blazon artisan designs words and words are structures that accommodate patterns of atramentous and white shapes, anatomy and counterform. It is a bold that deals with amplitude and rhythm. Which is absolutely what, for me, is the aspect of drawing.’
Highsmith’s sketchbook pages – hundreds of which accept been arise online at his claimed Web abode occupant.org – are as absolute and ad-lib as they are visually sophisticated. He mixes letterforms with abstruse and allegorical illustration, alternates densely abounding pages with brittle single-line drawings, and uses a array of tools.
His aboriginal book arise at Font Bureau, Daley’s Gothic (1998), was prompted by the aforementioned balanced attitude arise technique: it was the aftereffect of a alternation of abstracts with a animate besom and ink on paper. Consisting of beeline curve only, the book is not a archetypal of legibility, but that acutely was never the purpose; as an exercise in alive letterforms, Daley’s Gothic is outstanding. Addressee Gothic (2000), additionally fabricated with no curves, is beneath acute and added usable. According to the archive description it ‘embodies Cyrus Highsmith’s caffeinated eyes of the burghal environment’. Back leafing through the sketchbooks of the backward 1990s, one is addled by the affected images of burghal life. The aberrant forms of Addressee Gothic assume to accept sprouted anon from these awkward skylines and blocks, which sometimes anamnesis expressionist woodcuts.
Apart from Occupant’s antic roughness, its forms additionally abandon a arresting self-assuredness in cartoon original, yet natural-looking letterforms that buck no absolute accord to any antecedent model. This can additionally be said of the two afterwards families, with which Highsmith accustomed himself as a artisan of avant-garde argument typefaces: Dispatch, a slab serif in four widths, and Stainless, its sans-serif companion.
For over a century, slab-serifs were characterised not alone by their inherent automated adulthood but additionally by their annealed geometric anatomy – they are in actuality alleged ‘mécanes’ in the Vox classification. That archetypal was challenged by the Dutch academy of writing-oriented blazon design, best conspicuously by Peter Matthias Noordzij’s Caecilia (Linotype, 1991). Dispatch shows that there is a third way, which is neither geometric nor humanistic; it has a all-important quality, a advised artificiality, afterwards actuality absolutely automated – it additionally has an apparent brashness.
After Dispatch came Stainless: ‘I started acid off the serifs from Dispatch one day aloof as an experiment. I admired the after-effects so I kept going. The important affair was that the sans-serif architecture should not arise to be Dispatch with article missing. I capital the new architecture to accept the backbone and appearance to angle up on its own. If I acquainted article would attending acceptable in Stainless I would do it and not anguish if it was done the aforementioned way in Dispatch. So I acquainted it was adapted to accord Stainless its own name, instead of Dispatch Sans.’
Highsmith did not attending at any specific models for the two series. ‘The afflatus for Dispatch was a aggregate of Burghal (for its aboveboard geometry), Univers (for its variations and admirable adverse forms) and the blazon acclimated on receipts and parking tickets – anatomic or automated kinds of lettering. But I wouldn’t alarm any of these things models. Aloof actuality that I admired and spent time attractive at and cerebration about. In both series, I paid abutting absorption to the white amplitude amid and aural the characters. I capital solid, bunched wordshapes with a acceptable rhythm. So they bolt your eye. I anticipate it is for this acumen Dispatch has been generally acclimated as abyssal typography.’
While exploring his claimed obsessions in sketches and self-initiated typefaces, Highsmith additionally formed on several added accepted projects. He drew the italics for Tobias Frere-Jones’s Poynter Old Appearance Display, a annex of Font Bureau’s stylish, ergonomic ancestors of account faces; he formed with Matthew Carter on several weights of the bi-weekly book Miller; and he drew his own alternative of Scotch Roman as allotment of a agency to Font Bureau from The Wall Street Journal.
Highsmith brand the able contrasts that this way of alive provides him with. ‘Most of the assignment I do is on commission. The majority of my audience are newspapers but I additionally assignment with magazines, book designers, accumulated designers. For these clients, I draw new custom typefaces, fix old typefaces, advice specify the typographic palette, abetment with hyphenation and absolution settings. I adore it a lot.
Fonts like Eggwhite, Addressee Gothic, Stainless and Dispatch are the typefaces I draw in my additional time. I draw them to accept fun, advise myself something, to accept a breach from my clients. I like to accept these two sides. The commissioned assignment is arduous because I about charge to put abreast my aftertaste and appearance to actualize what the applicant needs. For example, I don’t anticipate I anytime would accept fatigued the calligraphy face Novia (aka Lithographia) afterwards the agency from Martha Stewart Living magazine.
Contradiction and challengesIt pushes me into areas I would not go if I was larboard up to my own devices. The spare-time assignment is arduous additionally there are no deadlines and I accept to be my own critic. In the continued run, I would like to be able to assignment afterwards clients. I don’t aloof beggarly this in agreement of aloof banking stuff. I beggarly that eventually I would adulation to be able to alternation myself to accumulate arduous myself. For me, the crisis of alive afterwards audience is that you can alpha activity in circles and go stale.’
Prensa (2003), possibly Highsmith’s best acknowledged book to date, originated as a commissioned annual book but again – back dumped by the art administrator afterwards a adapt – became a claimed project. Prensa explores the possibilities of a creating a tension, or contradiction, amid the alfresco and the central curves of the characters. Highsmith carefully adopted this accessory from W. A. Dwiggins, who aboriginal acclimated it in his bookface Electra (1935). ‘I am not an able on Dwiggins,’ says Highsmith, ‘but I’ve spent time attractive at his work. Back I aboriginal came beyond his work, I was admiring to his accord with accoutrement and materials. Back he bare to architecture something, he drew it. Back he bare a tool, he fabricated it. He seemed to accept congenital a beheld apple for himself area he could tinker.
‘As I became added absorbed in blazon design, I became acquainted of his typefaces, which acquainted like a additional encounter. His non-calligraphic access absorbed me a lot. For example, the stencils he fabricated to bound account the basal characters of Electra and Falcon fabricated a lot of faculty to me. It appealed to my own account that I was developing at the time about how belletrist could be constructed. Until then, all the advice I was able to accumulate about cartoon belletrist was from a calligraphic point of view. It was all about achievement adjustment and autograph from larboard to right. My academician doesn’t assignment in a beeline way. So Dwiggins’s modular access to letter cartoon appealed to me and accepted my account that there are altered agency to access blazon design.
‘Finally, I looked carefully at his assignment for a third time in commendations to his access to anatomy and counterform. Back I was young, my access to cartoon has been based about abrogating space. I learnt it from my mother who is an artist. The assignment came one day back I was balked that my assets of copse never absolutely looked like trees. They aloof looked like a agglomeration of lines. I could not get a feel of the appearance or anatomy of a tree. She accomplished me to draw the shapes amid the branches instead of the branches themselves. Back you do that, you bound appear a lot afterpiece to absolutely cartoon article resembles a tree. Back I am cartoon letters, I use the aforementioned approach. I am cartoon the white shapes not the atramentous strokes. So the accord amid the white shapes on the central of the appearance and the alfresco of the appearance is article I am absolute absorbed in. I anticipate Dwiggins had a agnate absorption so I advised his assignment from this point of view.’
Besides Dwiggins, Highsmith mentions Adrian Frutiger and Matthew Carter as important examples; he has additionally looked at earlier work, such as the seventeenth-century types of Miklós Kis, which vaguely aggressive his Zocalo book for the bi-weekly El Universal. Yet in animosity of these influences, he has retained an absolute attitude to the past. ‘The better force that drives my designs is cerebration about how they will be used. So my accord to attitude is aural that context. Which agency I am absorbed in the tricks the old guys accept ample out, and how to advance on the actuality they weren’t able to amount out so well. Abounding blazon designers focus on recreating old letterforms or assignment anon aggressive by old typefaces but that does not absorption me as much. In general, I abode amount on creating new work. I anticipate old actuality is article to be advised and abstruse from but not revered. Creating my own forms is artlessly what interests me more. It ability accept to do with my accomplished art accomplishments and that I aloof like to draw so much.’
In animosity of his anxiety about calligraphy, Highsmith afresh began experimenting with that technique’s possibilities and conventions – abnormally the askew accent or adverse amid blubbery and attenuate acclamation – which lends adherence to words and lines. Out of these explorations came Amira (2004), a ‘calligraphic sans-serif’. Highsmith: ‘It started out as an experiment. I was arena about my book Prensa, and anticipation there was some potential. So I started investigating the abstraction of a calligraphic sans. I was analytical to see how added blazon designers approached this affair but I didn’t acquisition abounding examples – it’s about alien territory. The best acclaimed is Optima. Again maybe Lydian. And there is the under-appreciated Stellar by Robert Hunter Middleton. There are others, but compared to the abundance of geometric sans-serifs that exist, they are adored few. This was allotment of the allure of this activity for me.
‘I didn’t do any absolute autograph with broad-nibbed pen but I accept abundant acquaintance with the attempt that I can visualise the furnishings back I am abstraction with a pencil. Here, too, my access to cartoon was absolute abundant focused on the abrogating shapes rather than the atramentous lines. So while I referred to the broad-nibbed pen, I did not use it in a accurate way.’ Amira bears some affinity to Evert Bloemsma’s Legato, brought out by FontShop about simultaneously. But while Bloemsma accomplished askew adverse by carefully bogus means, Amira looks hardly added organic.
An ideal educationHighsmith says he has occasionally acclimated calligraphy in his blazon architecture at RISD. ‘I accept begin it can be a absolute able way to explain assertive things about how belletrist are generally constructed. But in general, I don’t anticipate acquirements calligraphy is all-important for acquirements blazon design. In fact, sometimes I anticipate it can get in the way because back it is taken too far it can absolute what you can see and draw because aggregate is through the clarify of the pen. And while that is an important ambit of blazon architecture it is aloof one dimension.’
What then, should an apprenticeship in blazon architecture attending like? Is risd a acceptable academy for ambitious blazon designers? ‘risd is a acceptable academy for an ambitious clear designer. That is what our programme is focused on. I aloof advise one constituent chic a year in blazon architecture for acceptance who are interested. The spirit of the chic is added of a blast course. I am not training blazon designers. I am training clear designers who appetite to become added adult users of blazon by acquirements how it is put calm and how it absolutely works. Sometimes I do accept a amateur who tells me they do appetite to be a blazon artisan and I put them on a altered path. Plus I try to accomplish time for any one amateur who shows action and approaches me with a type-related activity alfresco of this elective.
‘I am not abiding what an ideal apprenticeship in blazon looks like. I would say that I am a accepter in an apprentice-style system, which is how I abstruse at Font Bureau. I accept in teaching a specific adjustment for cartoon blazon and acquirements from experience. I anticipate the best affair addition can do to apprentice to draw blazon is to draw as abounding altered kinds of typefaces as they can.’
First arise in Eye no. 59 vol. 15 2006
Eye is the world’s best admirable and collectable clear architecture journal, arise annual for able designers, acceptance and anyone absorbed in critical, abreast autograph about clear architecture and beheld culture. It is accessible from all acceptable architecture bookshops and online at the Eye shop, area you can buy subscriptions and distinct issues.
How To Write Calligraphy With Pencil – How To Write Calligraphy With Pencil
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