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ABCDEKIIIIKLMNO TERI KAMAN IS FASCINATED WITH LETTERFORM5 WITII POINTED STROKES. MERE THEY TWIST IN A SORT OF SINVOVS, 4ALLVMPIIIN4 DANCE ALON4 TIM LINE. RSTVWXYZ12345678 IT< SVRFROARDT" roam free shapes and the precise edges and angles that create them. otn3CS gFiNc9,9%ge970200kgarlia,rXWa 1234567n0 ily4bv2opqt3s-tuvwxy3 icAfr HE BOLD, PLAYFUL ELEMENT IS EVERYTHING IN ITC SURFBOARD. DESIGNER Ten Kahan shows the same fascination with pointed strokes in Surfboard that she demonstrates in ITC Cherie, but here they bend and twist in a sort of sinuous, gallumphing dance along the line. "The inspiration for ITC Surfboard," says Kahan, "was a video title designed by Richard Stumpf [her then husband and business partner at the time]." She took the design to its final form and added the specific PIIII"surf" elements to it, such as the abstract shapes that suggest waves, sails, and yes, surfboards. Part of the strength of ITC Surfboard comes from the tension between its very 108 sec ceoyet3- row BELL'S TASTE FOR VARIETY IS evident when you compare ITC Clover with her other current type release, ITC Stranger: they couldn't be farther apart in style or spirit. Where Stranger is rough, condensed and nervous, Clover is even, round and friendly, almost childlike. It looks like the loopy e9ILL handwriting taught to grade-school students, although it's much more controlled than any child's hand. Loops and curlicues on the caps and some of the lowercase letters give the typeface a cer- tain twinkle. Clover almost cries out to be animated, to dance across the screen to the sounds of a sprightly tune. And, true to its name, the font includes, as one of its special characters, a sprig of clover. Like many of Jill Bell's type designs, Clover began as a hand-lettering project that later evolved into a full typeface. C4i/e13 eVe72, PotOZGe GOZce friadoey, a lloJof cAliaceUe. Sot 4o4s ti,ke #fie ,60s4 joy 43 (vitt -to racee- Scitioa eSItice02-fs, Gittfiog94 iits inucifi mope co72,0fPoteece 44602. any cittaceS 4G372ct hoops end atitztes give Me -typeface a cePotai?2,
ITC ArKova" gilim N THE WORLD OF CALLIgraphic lettering, there's as. an art to the balance of spontaneity and control. In ITC Arnova, designer Genevieve Cerasoli took classic handwritten letterforms and gave them the freshness of a quick scrawl, with a hint of the brush style of Japanese sign painting. "The style was originally designed for use with the word 'natural," says Cerasoli, "so I began explor- ing various tools that would give me somewhat organic- looking forms with a texture that was reminiscent of stone or tree bark." Unlike most typefaces developed from hand lettering, Arnova varies the slant of the strokes from letter to letter, most obviously in the straight ascen- ders and descenders. This gives the face an unstudied look, though it works best in words without pairs of iden- tical letters. "I wanted the letterforms to look unpredict- able, as if they could have been written in the sand or dirt with a stick, yet having some rhythm—hence the varying balance/counterbalance that results when the letters are combined." Cerasoli considers herself a graphic designer and hand-letterer, rather than a type designer; most of her work is in "free-flowing scripts and non-traditional letterforms." ITC Arnova holds up just fine in text, but it really soars in display lines with only a single word or a phrase. svvrawteer the fetter- forms to fook tA pre - efictabfe, as if afAey cotAfer Have been writfe" ik% fAe saKer, yet Aavii/.5 sc RHYTHAka—ACKee fAe varyiK5 bafaKee/ cotAKI-erbalaKce tAat- restAfts sivAciA 1-tie falters are co mbiKeef. Pt A3CPER31-4.1JKLAk t40120,1Z5T“ \AA/XYZ ab c tf et A ij kfm N mrsfeAvwxyz12311567890 The effect in oatl becalm yuu lee the strokes themselves; in the effect ,1 a We tougher, more clifftw, asthe bristly mull of some of the strokes become awl* rie4troefer toorr HE SLASHING, ALMOST MENACING style of ITC Stranger comes from quick calligraphic strokes done with a partly dry brush—or the digital illusion of the same— in a very narrow, upright style. The effect in small sizes is spiky, because what you see is mostly the strokes themselves; in large sizes, the effect is a little rougher, more diffuse, as the bristly ends of some of the strokes become apparent. Designer Jill Bell is a lettering artist with a diverse artistic background. She has done everything from portrait painting to sign painting, and she likes to experiment. Having created six-foot-high letters as a sign painter gave her "a deeper understanding and appreciation for letterform construction and spatial relations." She has a particular fondness for Chinese painting and Japanese and Chinese calligraphy. "East- ern styles," she says, "incorporate the natural flow of the hand, and human qualities (including mistakes) are accepted, not scorned as in the 'white-out' Western culture." Her appreciation of Oriental calligraphy shows clearly in ITC Stranger. DeM4.1193aWNOTV4TIAVWXYZa betiefihijklotHopgrItuvwxyr1231567890 109
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