An alphabet, as Saad D. Abulhab expresses, serves several functions. The most important among them is facilitating language learning and writing (Abulhab, 2008, p. 184). Leonidas states that,
Typography and typeface design are essentially founded on a four-way dialogue between the desire for identity and originality within each brief (‘I want mine to be different, better, more beautiful’), the constraints of the type-making and type-setting technology, the characteristics of rendering process (printing
or illuminating), and the responses to similar conditions given by countless designers already, from centuries ago to this day. (Leonidas, 2010)
In type design there are important aspects to take into account. No matter which script, we need to consider different aspects: conventional and the technical aspects and those related to culture. According to Leonidas (2010), “Typographic design never happens in a vacuum”.
5.1.1 Conventions in type design
Our relationship with lettering, typography and symbols is such a preconditioned aspect of our nature and culture that our appreciation of typography can never be without prejudice (Urban lettering, 2011).
Letterforms are based on conventions. As type designer Gerard Unger states “some aspects have changed very little over long periods and can be called constants”.1 Characters have their own proportions which are based on certain
conventions. Tools have contributed to determining them throughout the history of lettering. In the end, letters represent language, which is a convention. Baines argues that “typographers should begin to understand the features of language while at the same time learning the conventions for its notation and the technical processes for its reproduction” (Baines & Haslam, 2005, p. 10). According to Jury (2006), the act of reading is one of the most ruled and governed of all activities. Being taught the meaning of typographic conventions and the function of predictability should not be shirked (Jury, 2006, p. 28).
Although we are currently facing changing habits, shifting from paper to screen, we have developed certain reading habits. This has to do with how the eyes and brain work on writing and reading.2 As Gerard Unger states, “Habit formation has a
considerable effect on typography, and the forms of letters are strongly influenced by habit. Conversely, the types that are most commonly read are reinforced by the habits of readers” (Unger, 2007, p. 84). Not rules, but conventions (or constants, as Unger calls it) that come from tradition and should be taken into account in any type design project. So, history is a faithful guide when looking for references or samples in order to analyse how tradition has shaped conventions and habits and how all this have affected type design and typography. For Stanley Morison, the concept of ‘tradition’ was another way to express the unanimity on some fundamental aspects established from the basis of trial-and-error and corrections, for centuries:
Experientia docet.3
1 Notes taken from ‘Universalia’, a lecture of Gerard Unger on 6 July 2009. tDi, University of Reading (uk). 2 On this subject, I recommend further reading Unger, Gerard, (2007), While you’re reading, New York: Mark
Batty publisher.
3 From Morison, Stanley (1967), ‘Postscript’, in First Principles of Typography, Cambridge: University Press (1967 edition). Consulted Spanish version, edited by Josep M. Pujol . Barcelona: Ediciones del Bronce, 1998.
Gerrit Noordzij says that “shapes that do not confirm to convention are just not writing” (Noordzij, 2005, p. 9). When writing, there are different reading directions which affect the way to write and movement of the tool and it does affect letter shapes. Type has a direct connection with writing (and not with calligraphy, as a beauty expression of script). Typefaces are based on writing, so they follow similar conventions derived from how the shapes were formed along the centuries.
Also, languages affect the way we see the text, its particular colour and how much space we need for a particular amount of text, its length. Specific letter combinations are more frequent in one language than another. In brief, every language defines its own visual conventions that affect the reading process.4 5.1.2 Cultural context of design
Designing typefaces for different cultures also affects the design process: designing a new script, for instance, or designing a signage for a historical spot in a touristic city centre. There is a semantic aspect in each case that affects the design.
When designing a typeface for the signage system for Salamanca University (Spain), I took into account the sign lettering samples that had been used for centuries in the old town walls. This historical approach to the problem helped to come up with a solution that connected with the spirit and the idiosyncrasy of the place.5
The designer’s cultural context also affects the process. As Gerard Unger admits, “the personality of the designer is also part of the design, time and place of origin, but also style and trends”.6 Designing an Arabic typeface from a Spanish-based
culture is not the same as if it is based on a Dutch cultural context, even though the results might look similar.
Designing a typeface has to do with detailing letterforms. Details do matter: they are the semantic part to type. Design conveys meaning.
All these aspects or principles (conventional, cultural and technological) have to be considered before starting a type design project. They will affect the process and, consequently, the results. They will also help us to make decisions and get the right answers to any questions during the design process.
5.1.3 Technical aspects in type design
Tools have influenced writing and the formal variations of the script: the sort of tool (chisel, broad nib pen, brush, reed pen, etc.), the angle and direction, have 4 This statement can be demonstrated through the samples shown at: SaDek, George & ZhukoV, Maxim (1997),
Typographia polyglotta. A comparative study in multilingual typesetting, 2nd edition, New York: The Cooper Union /
ATypI.
5 For more information on this work: Balius, Andreu (1999), ‘Trabajo de campo: Universitas Studii Salamantini’, Grrr magazine, 5. Barcelona.
had different results on the size, weight, inclination, width, and other more formal aspects which affect different qualities of the letterform. Different tools give rise to different shapes, although the letter is the same. Also, the results we obtain are affected by the surface we use (stone, wood, paper, parchment, screen).
Digital technology lets us go beyond metal type and the constraints of a physical shape. Technology provides both limitations and challenges. It forms the framework we work in with type design. The purpose and aims in every type design project will affect the design process and the final result. Legibility is the main goal for any typeface which is supposed to be used for reading purposes. So, designing a typeface for a book, newspaper, signage or whatever, all demands a specific approach to the design process. Reading from a certain distance or reading something that is moving involves different approaches. All processes entail technological knowledge when achieving these challenges.7