Intone - MA Typeface Design

Negative Remarks:
1. Very accentuated serifs.
2. “N” and “h” too pointy compared
to “d” and “o” which are
too round.
3. Restart.
4. “E” looks weird but I don’t
know why yet.
5. “G” is interesting but doesn’t
really fit the rest.
6. It is a bit too bold and I would
like something slightly more
refined.
Positive remarks:
1. I like the top serif on the “d” and
the “n”; they have a strong deep
cut. I like also the right part of the
ascender of the “d” that leans to
the right translating the movement
of the pen.
2. The serif on the “h” has
something but maybe it is a bit
excessive for the regular. I will try
to imply it on the italic.
Negative Remarks:
1. What happened to the top serif
of the “h”?
2. Contrast is better on the sketch.
3. The outstrokes look better on
the sketch.
4. The serifs don’t fit. They seem
as if someone forced them.
5. The form of the stem doesn’t fit
the ascenders.
Positive remarks:
1. The sketch is better.
2. The stem has something
interesting.
2. A vicious circle: De-sign, De-cide, De-sign
2.1 Starting with the Roman
Imaginary scissors and glue were the main tools for this introductory process. To set the
style of the typeface a lot of fast decisions had to be made. I started writing “adhesion” with
my pen and ink; I picked the one that looked interesting and started designing from there.
I felt that scanning it and digitalizing it while being really faithful to the trace of the ink
would prove interesting; it did. However, the result was far from being typographical and
uniform.
Later, I started sorting out the features. Some had to stay, some had to go and others would
best fit the Italic. The result was already more typographical, but very inconsistent. The
“n” was angular whereas the “b” and “o” were too rounded. The bottom serifs were more
prominent than poetry would require. There were many issues to be addressed. That is why
I decided to put my Roman, that was still influenced from the previous brief, aside and get
back to it later with a clear mind.
adhesiong
2.2 Starting with the Upright Italic
2.2 Starting with the Upright Italic
I particularly liked the feeling Upright Italics gave to the paper, so I decided to try it out. I
thought that the world in itself was hiding something; “up” and “right”. So I started designing
my Italics by always keeping the right side of the letter completely vertical and slanting
only its left side. This seemed to work out for the letters that started on the baseline and did
not surpass the x-height, but it was problematic regarding the ascenders and descenders.
For the serifs on the ascenders, I decided to employ an element that came up from draw-
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