Capoeira - MA Typeface Design at the University of Reading

Capoeira
Reflection on pratice
Submitted in partial fulfilment for the
requirements for the Master of Arts in Typeface
Design, Department of Typography and Graphic
Communication,at the University of Reading.

Introduction
1 Defining a brief - 5
2 Design Process - 7
Contents
a) Getting familiar with the design process
b) Finding personality
c) Refinements and adjustments
d) Building an italic
e) Getting familiar with foreign scripts (Greek & Cyrillic)
f) Adjusting the spacing (test documents)
3 Expanding the character set and adjusting the spacing - 17
a) Small caps/caps
b) Designing figures
c) Diacritics
g) Metrics classes and kerning pairs
Conclusion
Introduction
This reflection on practice relates my year of study at the MA Typeface
Design of the University of Reading. It covers the development
of Capoeira, a typefamily intended for bilingual publications such
as brochures, leaflets and magazines, and that includes Latin, Greek
and Cyrillic.
Through a constant testing and revising process Capoeira was
slowly and gradually refined, improving both its efficiency and
personality. In a first part, I'm explaining the brief and the purpose
of such a typeface. The second parts relates the developement of the
typeface: the first constraints I had to face and the choices I had to
make. And finally, the third part is related to the additional charaters
and the last adjustment that were done in order for the typeface
to be operational.
3

Best of Athens Interview
ΙΚΟ ΘΕΑΤΡΟ
Headline
- sans-serif
- different levels of hierarchy
(bold, regular)
- text overlaying photographs
or’s Act
Jan-Mar | 09 Best of Athens Interview
NATIONAL THEATRE OF GREECE | EΘΝΙΚΟ ΘΕΑΤΡΟ
heatre of Greece opens the curtains of its
pertoire. | Ο καλλιτεχνικός Yannis Houvardas διευθυντής του
του ανακαινισµένου κτιρίου του Εθνικού
ν.
The Director’s Act
The Artistic Director of the National Theatre of Greece opens the curtains of its
renovated building and this year’s repertoire. | Ο καλλιτεχνικός διευθυντής του
Εθνικού Θεάτρου σηκώνει την αυλαία του ανακαινισµένου κτιρίου του Εθνικού
και του ρεπερτορίου της φετινής σεζόν.
Running text:
- serif
- color distinction (according to the language)
- same typeface used (not always the case)
96 97
fig.1. Details of a double page spread of the bilingual magazine «2BOARD» (Greek/english)
Scale: 41%
GIANNIS DIMOTSIS
Τhis year’s theatre season, in the
historic landmark building on Aghiou
Constantinou Street, home to the
National Theatre of Greece’s central
and new stages, is eagerly awaited for
Ηφετινή θεατρική σεζόν στο ιστορικό
κτίριο-τοπόσηµο της Αγίου Κωνσταντίνου,
όπου στεγάζονται η Κεντρική
και η Νέα Σκηνή του Εθνικού Θεάτρου,
αναµένεται µε ξεχωριστό ενδιαφέρον, για
two reasons: first, because of the imminent reopening δύο λόγους: αφ’ενός, επειδή πρόκειται να παρα-
of the renovated national theatre building and second, δοθεί ανακαινισµένο το κτίριο του Εθνικού και,
because it’s the second—and hence more established— αφ’ετέρου, γιατί είναι η δεύτερη -και συνεπώς
theatre season under the direction of the theatre’s πιο ώριµη- θεατρική σεζόν, υπό την µπαγκέτα
artistic director, Yiannis Houvardas.
του νέου καλλιτεχνικού διευθυντή του θεάτρου,
The building, currently under renovation, was designed Γιάννη Χουβαρδά.
towards the end of the 19th century by architect Ernst Το υπό ανακαίνιση κτίριο σχεδίασε ο αρχιτέκτο-
Ziller. King George I commissioned the work to form νας Ερνέστος Τσίλλερ, στα τέλη του 19ου αιώνα
the country’s first state theatre, thanks to a donation για λογαριασµό του βασιλιά Γεωργίου Α΄, ο οποίος
by Efstratios Rallis, an expatriate from Britain. It επιθυµούσε να συστήσει το πρώτο κρατικό θέατρο
was inaugurated in 1901 and operated until 1908. It της χώρας, το Βασιλικό Θέατρο, χάρη σε µια δω-
then remained closed for 24 years (since politicians ρεά από τον εξ Αγγλίας οµογενή, Ευστράτιο Ράλ-
didn’t like the theatre institution in the least, and had λη. Εγκαινιάστηκε το 1901 και λειτούργησε µέχρι
repeatedly tried to dissuade George I from the project) το 1908. Θα παραµείνει ανενεργό για 24 ολόκλη-
and reopened in 1932. It has operated as the national ρα χρόνια (αφού οι πολιτικοί της εποχής ουδόλως
theatre ever since.
συµπαθούσαν τον θεσµό αυτόν και είχαν µάλιστα
Yiannis Houvardas’ designation as artistic director επανειληµµένα προσπαθήσει να αποτρέψουν τον
in 2007 was a milestone for the theatre. This was not Γεώργιο Α΄ από αυτό το εγχείρηµα) και θα επανα-
only because he took over from Nikos Kourkoulos, λειτουργήσει από το 1932 ως Εθνικό Θέατρο. Η
who was a leading personality in the Greek theatre ανάληψη των καθηκόντων καλλιτεχνικού διευθυ-
and cinema scene, but also because his year’s of theatre his illustrious
season, in the ντή από φετινή τον θεατρική Γιάννη σεζόν στο Χουβαρδά, ιστορικό το 2007, υπήρξε
historic landmark building on Aghiou
κτίριο-τοπόσηµο της Αγίου Κωνστα-
personal achievements. Yiannis Houvardas is a graduate ηµεροµηνία-σταθµός όχι µόνο γιατί ο νέος διευ-
Constantinou Street, home to the
ντίνου, όπου στεγάζονται η Κεντρι-
of Athens College and of London’s National Theatre Royal of Greece’s Academy central Τ Ηθυντής
κή και του η Νέα Εθνικού Σκηνή του Εθνικού έπαιρνε Θε- τη σκυτάλη από µια
and new stages, is eagerly awaited for άτρου, αναµένεται µε ξεχωριστό ενδιαφέρον, για
of Dramatic Art, having two reasons: also first, because studied of the imminent drama reopening and δύο ιδιαίτερα λόγους: αφ’ενός, σηµαίνουσα επειδή πρόκειται να φυσιογνωµία παρα- του ελληνικού
of the renovated national theatre building and second, δοθεί ανακαινισµένο το κτίριο του Εθνικού και,
directing at the Württemberg State Theatre (1980). He θεάτρου και κινηµατογράφου, τον Νίκο Κούρκου-
because it’s the second—and hence more established— αφ’ετέρου, γιατί είναι η δεύτερη -και συνεπώς
started as an actor at Charles theatre season Marowitz’ under the direction Open of the Space theatre’s πιο λο, ώριµη- αλλά θεατρική και σεζόν, εξαιτίας υπό την µπαγκέτα της ιδιαίτερης προσωπικής
artistic director, Yiannis Houvardas.
του νέου καλλιτεχνικού διευθυντή του θεάτρου,
Theatre in London, the The building, Karolos currently Koun under renovation, Art Theatre
was designed Γιάννη του Χουβαρδά. πορείας: ο 58άχρονος Γιάννης Χουβαρδάς εί-
towards the end of the 19th century by architect Ernst
and the Theatrical Union Ziller. King (1997-1980), George I commissioned which the work he to form co-
Το υπό ανακαίνιση κτίριο σχεδίασε ο αρχιτέκτοναςναι
Ερνέστος απόφοιτος Τσίλλερ, στα τέλη του του Κολλεγίου 19ου αιώνα Αθηνών και της Βα-
the country’s first state theatre, thanks to a donation για λογαριασµό του βασιλιά Γεωργίου Α΄, ο οποίος
founded and for which he also directed productions. σιλικής Ακαδηµίας Δραµατικών Τεχνών του Λον-
by Efstratios Rallis, an expatriate from Britain. It επιθυµούσε να συστήσει το πρώτο κρατικό θέατρο
From 1977 to 1980, he was collaborated inaugurated in 1901 with and operated the national
until 1908. It της χώρας, δίνου. το Βασιλικό Έχει Θέατρο, σπουδάσει χάρη σε µια επίσης δω- δραµατολογία και
then remained closed for 24 years (since politicians ρεά από τον εξ Αγγλίας οµογενή, Ευστράτιο Ράλ-
and state theatres of Greece didn’t like the and theatre other institution countries in the least, and had as λη. Εγκαινιάστηκε σκηνοθεσία το 1901 στο και λειτούργησε Κρατικό µέχρι Θέατρο της Βυρτεµβέρ-
repeatedly tried to dissuade George I from the project) το 1908. Θα παραµείνει ανενεργό για 24 ολόκλη-
a freelance director and reopened staged in 1932. more It has operated than as 30 the national plays ρα χρόνια γης (αφού (1980). οι πολιτικοί Ξεκίνησε της εποχής ουδόλως ως ηθοποιός στα The Open
theatre ever since.
συµπαθούσαν τον θεσµό αυτόν και είχαν µάλιστα
in theatres such as the National Theatre of Greece, Space Theatre, Charles Marowitz, Λονδίνο, στο Θέ-
Yiannis Houvardas’ designation as artistic director επανειληµµένα προσπαθήσει να αποτρέψουν τον
the National Theatre in of 2007 Northern was a milestone Greece, for the theatre. the This Royal was not Γεώργιο ατρο Α΄ από Τέχνης αυτό το εγχείρηµα) Κάρολος και θα επανα- Κουν και στη Θεατρική Συ-
only because he took over from Nikos Kourkoulos, λειτουργήσει από το 1932 ως Εθνικό Θέατρο. Η
Dramatic Theatre of who Sweden, was a leading the personality National in the Greek Theatre theatre ανάληψη ντεχνία των καθηκόντων (1997-1980) καλλιτεχνικού της διευθυ- οποίας υπήρξε παράλλη-
and cinema scene, but also because of his illustrious ντή από τον Γιάννη Χουβαρδά, το 2007, υπήρξε
of Norway, the Trondheim personal achievements. State Theatre Yiannis Houvardas in Norway,
is a graduate ηµεροµηνία-σταθµός λα συνιδρυτής όχι µόνο και γιατί σκηνοθέτης. ο νέος διευ- Από το 1977 µέχρι
of Athens College and of London’s Royal Academy θυντής του Εθνικού έπαιρνε τη σκυτάλη από µια
the Stockholm Municipal Theatre, the Wiesbaden το 1990 συνεργάζεται µε εθνικά και κρατικά θέα-
of Dramatic Art, having also studied drama and ιδιαίτερα σηµαίνουσα φυσιογνωµία του ελληνικού
National Theatre, the directing Helsinki at the Württemberg Lilla State Theatre, Theatre (1980). the He θεάτρου τρα και της κινηµατογράφου, Ελλάδας τον Νίκο και Κούρκου- του εξωτερικού ως ελεύθε-
started as an actor at Charles Marowitz’ Open Space λο, αλλά και εξαιτίας της ιδιαίτερης προσωπικής
Stuttgart Theatre, among Theatre others. in London, In the 1991, Karolos Koun he founded
Art Theatre του πορείας: ρος σκηνοθέτης. ο 58άχρονος Γιάννης Συγκεκριµένα, Χουβαρδάς εί- έχει ανεβάσει πά-
and the Theatrical Union (1997-1980), which he coναι απόφοιτος του Κολλεγίου Αθηνών και της Βα-
the Theatre of the South—a founded and for cultural which he also directed organisation
productions. σιλικήςνω Ακαδηµίας από 30 Δραµατικών έργα σε Τεχνών θέατρα, του Λον- όπως το Εθνικό Θέατρο
From 1977 to 1980, he collaborated with the national δίνου. Έχει σπουδάσει επίσης δραµατολογία και
dedicated to creative work and international theatre της Ελλάδος, το Κρατικό Θέατρο Βορείου Ελλάδος,
and state theatres of Greece and other countries as σκηνοθεσία στο Κρατικό Θέατρο της Βυρτεµβέρ-
collaboration. Over the a freelance past six director years, and staged he more has than directed 30 plays γης (1980). το Βασιλικό Ξεκίνησε ως ηθοποιός Δραµατικό στα The Open Θέατρο της Σουηδίας, το
in theatres such as the National Theatre of Greece, Space Theatre, Charles Marowitz, Λονδίνο, στο Θέ-
abroad, mainly operas (Gothenburg the National Theatre Opera, of Northern Copenhagen
Greece, the Royal ατρο Εθνικό Τέχνης Κάρολος Θέατρο Κουν και της στη Θεατρική Νορβηγίας, Συ- το Νορβηγικό Θέ-
Dramatic Theatre of Sweden, the National Theatre ντεχνία (1997-1980) της οποίας υπήρξε παράλλη-
Opera, Royal Dramatic Theatre of Sweden, National ατρο του Όσλο, το Κρατικό Θέατρο του Τρόντχαϊµ
of Norway, the Trondheim State Theatre in Norway, λα συνιδρυτής και σκηνοθέτης. Από το 1977 µέχρι
Theatre of Norway etc.). the Stockholm Municipal Theatre, the Wiesbaden το 1990 Νορβηγίας, συνεργάζεται µε το εθνικά Δηµοτικό και κρατικά θέα- Θέατρο της Στοκχόλµης,
National Theatre, the Helsinki Lilla Theatre, the τρα της Ελλάδας και του εξωτερικού ως ελεύθε-
Tell us about the national Stuttgart theatre. Theatre, among What others. is In your 1991, he vision founded ρος σκηνοθέτης. το Κρατικό Συγκεκριµένα, Θέατρο έχει ανεβάσει του Βιζµπάντεν, πά- το Λίλλα Τεά-
The hall for dance rehearsals is almost ready
Η αίθουσα για τις πρόβες χορού είναι σχεδόν έτοιμη
the Theatre of the South—a cultural organisation
for this institution? dedicated to creative work and international theatre
νω από 30 έργα σε θέατρα, όπως το Εθνικό Θέατρο
της Ελλάδος, το Κρατικό Θέατρο Βορείου Ελλάδος,
collaboration. Over the past six years, he has directed το Βασιλικό Δραµατικό Θέατρο της Σουηδίας, το
My vision is of a national theatre operating from its
abroad, mainly operas (Gothenburg Opera, Copenhagen Εθνικό Θέατρο της Νορβηγίας, το Νορβηγικό Θέ-
historic seat (the re-inauguration Opera, Royal Dramatic Theatre of the of Sweden, renovated National ατρο του Όσλο, το Κρατικό Θέατρο του Τρόντχαϊµ
Theatre of Norway etc.).
Νορβηγίας, το Δηµοτικό Θέατρο της Στοκχόλµης,
Ziller building is expected Tell us about the in national January), theatre. What targeting
is your vision το Κρατικό Θέατρο του Βιζµπάντεν, το Λίλλα Τεά-
The hall for dance rehearsals is almost ready
Η αίθουσα για τις πρόβες χορού είναι σχεδόν έτοιμη
for this institution?
theatre lovers of all social My vision classes, is of a national views theatre and operating ages, from of its a
historic seat (the re-inauguration of the renovated
theatre that is dynamic and contemporary, that bridges
Ziller building is expected in January), targeting “Failure, challenge, conceit are all part of the
the gap between classical theatre and lovers of modern, all social classes, national views and ages, and of a game of progress as is maturity, passion and
theatre that is dynamic and contemporary, that bridges
the gap between classical and modern, national and the discovery of new ways”
4
GIANNIS DIMOTSIS
“Failure, challenge, conceit are all part of the
game of progress as is maturity, passion and
the discovery of new ways”
Epigraph and highlited text:
- sans serif
- use of bolds to highlight some
passages.
1. «Air France Magazine» (French/English)
2. «Lufthansa Magazin» (German/English)
3. «Ronda Iberia Magazine»
(Spanish/English)
4. «2BOARD»: Athens” International
Airport magazine (Greek/English)
97
1 Defining a brief
At the beginning of the year, we were asked to think about a brief
that would define the purpose of the typeface we were about to
create. Not having thought about any particular direction for my
design, I tried to think about ideas in order to come out with a brief
precise enough to draw an outline of the future typeface. The only
thing I knew was that I wanted to experiment as much as possible,
and tryout some unusual shapes through the survey of a non-latin
script. Having recently worked on a graphic design project linked
with phonetic writings, I first thought about creating a typeface that
would include characters of the International Phonetic Alphabet
(IPA) and used in publications (e.g. linguistic books, dictionaries,
etc.). However, due to various reasons, I decided to create a typeface
that would include Greek and Cyrillic, along with Latin, and intended
to be used in bilingual publications such as airline magazines or
design magazine but that could also work for brochures, leaflets, city
guides, etc.
WORLD
STARS
ON STAGE
BEST KEPT
TREASURES
THE 17 GREATEST
MUSEUMS OF THE WORLD
ΜΑΘΗΜΑ ΠΟΛΙΤΙΣΜΟΥ:
ΤΑ 17 ΚΑΛΥΤΕΡΑ ΜΟΥΣΕΙΑ
ΤΗΕ WHITE
MAP OF
GREECE
In order to do so, it was first necessary for me to take note of the
requirements for a typeface designed for magazines: first, as for
newspapers, typeface design in magazines needs to be capable of
running lengthy texts (although in magazines articles tend to be
shorter and more often interrupted by other elements on page such
as illustrations and/or photographs). Again, in magazine layouts the
text hierarchy is much more important, and the fonts that are chosen
tend to be fairly playful, with a strong identity (and even more
when the magazine is supposed to represent a brand, like for airline
companies). Finally, being a typeface including several scripts, the
challenge would be for them to work nicely together when used in
the same text or on a same page [Fig.1].
2boardmagazine 04 by Liberis Publications Τhe Little Black Book of Athens | World Museums | Greek Ski Resorts
THE LITTLE
BLACK BOOK
OF ATHENS
THE 1st ANNUAL
ENTERTAINMENT GUIDE
I S S U E N o 4 • J A N - Ì Á R 2 0 0 9
HAPPY 2009 WHEREVER YOU TRAVEL!
ΑΘΗΝΑ: O ΕΞΥΠΝΟΣ
ΟΔΗΓΟΣ ΔΙΑΣΚΕΔΑΣΗΣ
ΓΙΑ ΤΙΣ ΓΙΟΡΤΕΣ
YOURS
TO KEEP
MOSCOW-ΜΟΣΧΑ | FINLAND-ΦΙΝΛΑΝΔΙΑ | LAS VEGAS-ΛΑΣ ΒΕΓΚΑΣ | MILAN-ΜΙΛΑΝΟ
THE BEST SKI RESORTS
TA ΚΑΛΥΤΕΡΑ ΧΙΟΝΟΔΡΟΜΙΚΑ
ΚΕΝΤΡΑ ΤΗΣ ΕΛΛΑΔΑΣ
AFRICA AFRICA!
ΑΦΡΙΚΗ: Η ΓΟΗΤΕΙΑ ΤΟΥ ΜΑΥΡΟΥ
1. 4. 2. 3.
5

fig.2. Pencil reproduction of characters from various existing typefaces .Scale: 70%
fig. 6. First test document (with the letters “adep”). Scale: 95% fig. 3. Early sketches using “adhesion” letters. Scale: 93%
6
fig. 4. First sketches for Gerard Unger's first
workshop, experimenting with the joining
strokes. Scale: 60%
fig.5. First glyphs drawn in FontLab after
Gerard's workshop.
1.this word has been chosen because it
combines enough characteristic shapes to
define an important number of features
and proportions of a whole typeface (like
“Hamburgerfonstiv”).
2 Design Process
a) Getting familiar with the design process
In order to get an idea of the features of this future typeface, I first
started re-drawing characters of various existing typefaces, selecting
features that pleased me, and paying special attention on proportions
and consistencies between characters [fig.2]. Those first sketches
were made without any specific idea of how the typeface would
later look like, trying out as many combinations as possible.
As an introductory workshop at the end of October, we were
asked by Gerard Unger to draw a first set of letters by hand, in order
to test its efficiency at very small sizes (as one can see in dictionaries).
Using the usual MATD (Master of Arts in Typeface Design) test
word “adhesion” 1 allowed us some very fast interventions, constantly
reducing the scale at various stages with a photocopier. [fig.3]
This practice helped us understanding the appearance of alterations
due to scale (details disappearing, others appearing heavier, dark
spots, spacing issues, etc.) as well as measuring the limits of customizing
details. [fig.4]
This workshop was also an opportunity to get familiar with Font-
Lab, trying to reproduce the shapes of the drawn letters [fig.5] (the
sketches were not used in FontLab as a background, in order to gain
confidence using Bezier curves and for the eye to get used to the
features of each letter). In addition to that, a first test document was
created, with a selection of words using the same letters as “adhesion”:
this way, it was even easier to identify the main problems
created by the scale variations. [fig.6]
Once I started building my own design, one of the first features I
wanted to give to my typeface was a calligraphic aspect (as seen on

Lilith Laborey MATD 08-09 oeuf_sample 12/12/2008 11:33 printer:............................................
adhesion
Lilith Laborey MATD 08-09 oeuf_sample090122 22/01/2009 2:13 printer:............................................
9 pts
adhesion
8 pts 7 pts 5 pts
dossed soda essede a deediness so dead dossed soda essede a deediness so dead
dossed soda essede a deediness so deadnesses sons
dossed soda essede a deediness so deadnesses sons has. sanenesses sin in
neo nan sansi. assession ends deadishness assessed hasheeshes hi add a
nesses sons has. sanenesses sin in neo
nesses sons has. sanenesses sin in neo nan
has. sanenesses sin in neo nan sansi. assession ends
nonaid a nides a dens non hens. sees a dieses naish adossed do. indiana
nan sansi. assession ends deadishness
sansi. assession ends deadishness assessed
deadishness assessed hasheeshes hi add a nonaid a
hides hi diseasedness disease hoe disseise senonian. sheds ninnies ashes.
nondiseased inanes donnishness sane hoondee shoo addison doa hind dean
nides a dens non hens. sees a dieses naish adossed
hasheeshes hi add a nonaid a nides a dens
hosannaed and none. shininess shindies oddside. haine dasheens hi donned
assessed hasheeshes hi add a nonaid
do. indiana hides hi diseasedness disease hoe disseise
and. non hoes heh sissonnes sneesh in ended shoo she diseasedness hood
non hens. sees a dieses naish adossed do.
a nides a dens non hens. sees a dieses
senonian. sheds ninnies ashes. nondiseased inanes
a donnishness donenesses hsien an his indianians is do ahind hained.
indiana hides hi diseasedness disease hoe
shoes doss do. nonseasoned shadiness dish sidehead sad dissensions an
donnishness sane hoondee shoo addison doa hind
needed ha seen shoshonean has sod dodded hennin dos hanna. heediness
naish adossed do. indiana hides hi di
disseise senonian. sheds ninnies ashes. nondi dean hosannaed and none. shininess shindies oddside.
nonsenses on adonidin honda. shindies dined dos ionian diseasedness sen
seasedness disease hoe disseise senonian.
ses nondenseness en inosine a addends iso don hasheeshes aide indienne
seased inanes donnishness sane hoondee shoo haine dasheens hi donned and. non hoes heh sisson
hoodies dis a neo sadis. indians nondiseased hid nonadhesion a inns seasi
sheds ninnies ashes. nondiseased inanes addison doa hind dean hosannaed and none.
nes sneesh in ended shoo she diseasedness hood a
de shoeshine sea sheenies so has. sends adinidan denseness dodo sons
donnishness sane hoondee shoo addison shininess shindies oddside. haine dasheens hi donnishness donenesses hsien an his indianians is do
neo insee on indonesians dais shad assishness. idea indonesians on sad
ness dead. hoidened oh ides an naiads oohs headiness en nosh hone shide
ahind hained. shoes doss do. nonseasoned shadiness
doa hind dean hosannaed and none. shi donned and. non hoes heh sissonnes sneesh in
deadishness heh aha sos. he donnishness snood seas hasheeshes a a do.
Lilith Laborey MATD 08-09 oeuf_sample090122 dish sidehead sad 22/01/2009 dissensions an needed 2:13ha seen
indii in printer:............................................
dadoed. shoo eshin heed asideness a ananias shoshonean indian
niness shindies oddside. haine dasheens ended shoo she diseasedness hood a donnis
shads shoeshine hosanna niais. danes hoses deadheaded saddish isidia side
shoshonean has sod dodded hennin dos hanna. hee
shoddiness seen ash dos dads. hi ads ended oh hoe esse a a as din noddi
hness donenesses hsien an his indianians is
hi donned and. non hoes heh sissonnes
diness nonsenses on adonidin honda. shindies dined
seen on do. heinie odessa. ashiness shoddied nose diseasedness in shad
do ahind hained. shoes doss do. nonseasoned dos ionian diseasedness senses nondenseness en
headiness hand essoinee diseasedness. nasions an sension a dissensions
sneesh in ended shoo she diseasedness
ansae soon sienese and assession a hen. noes deodand aonian shinnies aid
shadiness dish sidehead sad dissensions an
inosine a addends iso don hasheeshes aide indienne
anonad anoas aah odes en dianisidine aids a disseise disseised. ado hose
hood a donnishness donenesses hsien
needed ha seen shoshonean has sod dod
hoodies dis a neo sadis. indians nondiseased hid no
assheadedness nesses shadiness heeds a and has insaneness sissonnes
donenesses hi assheadedness seas. deaness odd dodded ode aedes
an his indianians is do ahind hained.
ded hennin dos hanna. heediness nonsenses
nadhesion a inns seaside shoeshine sea sheenies so
shedhand. hi oases ease hennas haine indonesians an end. hasheeshes
9 pts
adhesion
8 pts has. 7 pts sends adinidan denseness dodo sons neo insee
deadishness 5 pts shod in. dossed soda essede a deediness so deadnesses sons
shoes doss do. nonseasoned shadiness
on adonidin honda. shindies dined dos ionian
on indonesians dais shad assishness. idea indone
has. sanenesses sin in neo nan sansi. assession ends deadishness assessed
dish sidehead sad dissensions an needed diseasedness senses nondenseness en inosine
hasheeshes hi add a nonaid a nides a dens non hens. sees a dieses naish
sians on sadness dead. hoidened oh ides an naiads
adossed do. indiana hides hi diseasedness disease hoe disseise senonian.
ha dossed seen soda shoshonean essede a has deediness sod dodded so dead a dossed addends soda iso essede don hasheeshes a deediness aide so deadnesses indienne sons oohs dossed headiness soda essede en nosh a deediness hone shide so deadnesses deadishness sons heh has. sheds
dossed
ninnies
soda essede
ashes.
a
nondiseased
deediness so
inanes
deadnesses
donnishness
sons has.
sane
sanenesses
hoondee
sin
shoo
in neo nan
hennin dos hanna. heediness nonsenses hoodies dis a neo sadis. indians nondiseased
addison
sansi. assession
doa hind
ends
dean
deadishness
hosannaed
assessed
and none.
hasheeshes
shininess
hi
shindies
add a nonaid
oddside.
a nides a
nesses sons has. sanenesses sin in neo nan has. sanenesses sin in neo nan sansi. assession ends aha sanenesses sos. he sin donnishness in neo nan snood sansi. seas assession hasheeshes ends deadish a
haine
dens non
dasheens
hens. sees
hi donned
a dieses
and.
naish
non
adossed
hoes heh
do.
sissonnes
indiana hides
sneesh
hi diseasedness
in ended
disease
hid nonadhesion a inns seaside shoeshine sea a do. indii in dadoed. shoo eshin heed asideness a
shoo she diseasedness hood a donnishness donenesses hsien an his
on sansi. adonidin assession honda. ends shindies deadishness dined assessed dos
deadishness assessed hasheeshes hi add a nonaid a ness assessed hasheeshes hi add a nonaid a nides a dens hoe disseise senonian. sheds ninnies ashes. nondiseased inanes donnishness sane
ananias shoshonean indian shads shoeshine hosanna
indianians
hoondee shoo
is do
addison
ahind
doa
hained.
hind
shoes
dean hosannaed
doss do. nonseasoned
and none. shininess
shadiness
shindies
dish
odd
non hens. sees a dieses naish adossed do. indiana hides hi
nides a dens non hens. sees a dieses naish adossed
side. haine dasheens hi donned and. non hoes heh sissonnes sneesh in ended shoo
hasheeshes hi add a nonaid a nides a dens non
diseasedness disease hoe disseise senonian. sheds ninnies she diseasedness hood a donnishness donenesses hsien an his indianians is do ahind
do. indiana hides hi diseasedness disease hoe dissei
hens. sees a dieses naish adossed do. indiana
ashes. nondiseased inanes donnishness sane hoondee shoo hained. shoes doss do. nonseasoned shadiness dish sidehead sad dissensions an
se senonian. sheds ninnies ashes. nondiseased inanes
needed ha seen shoshonean has sod dodded hennin dos hanna. heediness nonsenses
addison doa hind dean hosannaed and none. shininess
on adonidin honda. shindies dined dos ionian diseasedness senses nondenseness en
hides hi diseasedness disease hoe disseise donnishness sane hoondee shoo addison doa hind shindies oddside. haine dasheens hi donned and. non hoes inosine a addends iso don hasheeshes aide indienne hoodies dis a neo sadis. indians
senonian. sheds ninnies ashes. nondiseased
nondiseased hid nonadhesion a inns seaside shoeshine sea sheenies so has. sends
dean hosannaed and none. shininess shindies oddside. heh sissonnes sneesh in ended shoo she diseasedness hood
adinidan denseness dodo sons neo insee on indonesians dais shad assishness. idea in
inanes donnishness sane hoondee shoo addison haine dasheens hi donned and. non hoes heh sisson a donnishness donenesses hsien an his indianians is do ahind donesians on sadness dead. hoidened oh ides an naiads oohs headiness en nosh hone
doa hind dean hosannaed and none. shininess nes sneesh in ended shoo she diseasedness hood a hained. shoes doss do. nonseasoned shadiness dish sidehead shide deadishness heh aha sos. he donnishness snood seas hasheeshes a a do. indii
in dadoed. shoo eshin heed asideness a ananias shoshonean indian shads shoeshine
sad dissensions an needed ha seen shoshonean has sod
shindies oddside. haine dasheens hi donned donnishness donenesses hsien an his indianians is do
hosanna niais. danes hoses deadheaded saddish isidia side shoddiness seen ash dos
dodded hennin dos hanna. heediness nonsenses on adonidin dads. hi ads ended oh hoe esse a a as din noddi seen on do. heinie odessa. ashiness
and. non hoes heh sissonnes sneesh in ended ahind hained. shoes doss do. nonseasoned shadiness
shoddied nose diseasedness in shad headiness hand essoinee diseasedness. nasions
honda. shindies dined dos ionian diseasedness senses
an sension a dissensions ansae soon sienese and assession a hen. noes deodand
dish sidehead sad dissensions an needed ha seen
shoo she diseasedness hood a donnishness
nondenseness en inosine a addends iso don hasheeshes aide aonian shinnies aid anonad anoas aah odes en dianisidine aids a disseise disseised.
shoshonean has sod dodded hennin dos hanna. hee indienne hoodies dis a neo sadis. indians nondiseased hid ado hose assheadedness nesses shadiness heeds a and has insaneness sissonnes
donenesses hsien an his indianians is do ahind
donenesses hi assheadedness seas. deaness odd dodded ode aedes shedhand. hi
diness nonsenses on adonidin honda. shindies dined nonadhesion a inns seaside shoeshine sea sheenies so has. oases ease hennas haine indonesians an end. hasheeshes deadishness shod in. dossed
hained. shoes doss do. nonseasoned shadiness dos ionian diseasedness senses nondenseness en sends adinidan denseness dodo sons neo insee on indone soda essede a deediness so deadnesses sons has. sanenesses sin in neo nan sansi.
assession ends deadishness assessed hasheeshes hi add a nonaid a nides a dens
dish sidehead sad dissensions an needed ha inosine a addends iso don hasheeshes aide indienne sians dais shad assishness. idea indonesians on sadness dead.
non hens. sees a dieses naish adossed do. indiana hides hi diseasedness disease hoe
9 pts 8 pts 7 hoidened pts oh ides an naiads oohs headiness en nosh hone 5 pts disseise senonian. sheds ninnies ashes. nondiseased inanes donnishness sane hoondee
seen shoshonean has sod dodded hennin dos hoodies dis a neo sadis. indians nondiseased hid no
shide deadishness heh aha sos. he donnishness snood seas shoo addison doa hind dean hosannaed and none. shininess shindies oddside.
hanna. heediness nonsenses on adonidin honda. nadhesion a inns seaside shoeshine sea sheenies so
haine dasheens hi donned and. non hoes heh sissonnes sneesh in ended shoo she
hasheeshes a a do. indii in dadoed. shoo eshin heed aside diseasedness hood a donnishness donenesses hsien an his indianians is do ahind
shindies dossed fig.7. soda dined essede dos From ionian a deediness diseasedness top so to dead senses bottom: has. dossed sends soda early adinidan essede denseness a digital deediness dodo so deadnesses sons versions neo insee sons dossed ness from a ananias soda essede shoshonean the a deediness 8th, indian so shads deadnesses 21st shoeshine sons & hosanna has. dossed soda essede a deediness so deadnesses sons has. sanenesses sin in neo nan
22nd hained. shoes December doss do. nonseasoned shadiness dish 2009.
sidehead sad dissensions an
sansi. assession ends deadishness assessed hasheeshes hi add a nonaid a nides a
nondenseness en inosine a addends iso don on indonesians dais shad assishness. idea indonesians
needed ha seen shoshonean has sod dodded hennin dos hanna. heediness nonsenses
nesses sons has. sanenesses sin in neo nan has. sanenesses sin in neo nan sansi. assession ends sanenesses niais. danes sin hoses in neo deadheaded nan sansi. saddish assession isidia ends side deadish shoddiness dens non hens. sees a dieses naish adossed do. indiana hides hi diseasedness disease
on adonidin honda. shindies dined dos ionian diseasedness senses nondenseness en
on sadness dead. hoidened oh ides an naiads oohs seen ash dos dads. hi ads ended oh hoe esse a a as din
inosine a addends iso don hasheeshes aide indienne hoodies dis a neo sadis. indians
hasheeshes sansi. assession aide Scale: ends indienne deadishness hoodies 46% dis assessed a neo deadishness assessed hasheeshes hi add a nonaid a ness assessed hasheeshes hi add a nonaid a nides a dens hoe disseise senonian. sheds ninnies ashes. nondiseased inanes donnishness sane
hoondee shoo addison doa hind dean hosannaed and none. shininess shindies odd
noddi non hens. seen sees on do. a dieses heinie naish odessa. adossed ashiness do. shoddied indiana hides nose hi nondiseased hid nonadhesion a inns seaside shoeshine sea sheenies so has. sends
nides a dens non hens. sees a dieses naish adossed
side. haine dasheens hi donned and. non hoes heh sissonnes sneesh in ended shoo
hasheeshes hi add a nonaid a nides a dens non
diseasedness disease hoe disseise senonian. sheds ninnies she diseasedness hood a donnishness donenesses hsien an his indianians is do ahind
do. indiana hides hi diseasedness disease hoe
hens. sees a dieses naish adossed do. indiana
ashes. nondiseased inanes donnishness sane hoondee shoo hained. shoes doss do. nonseasoned shadiness dish sidehead sad dissensions an
disseise senonian. sheds ninnies ashes. nondiseased
needed ha seen shoshonean has sod dodded hennin dos hanna. heediness nonsenses
addison doa hind dean hosannaed and none. shininess
on adonidin honda. shindies dined dos ionian diseasedness senses nondenseness en
hides hi diseasedness disease hoe disseise inanes donnishness sane hoondee shoo addison doa shindies oddside. haine dasheens hi donned and. non hoes inosine a addends iso don hasheeshes aide indienne hoodies dis a neo sadis. indians
senonian. sheds ninnies ashes. nondiseased
nondiseased hid nonadhesion a inns seaside shoeshine sea sheenies so has. sends
hind dean hosannaed and none. shininess shindies heh sissonnes sneesh in ended shoo she diseasedness hood
adinidan denseness dodo sons neo insee on indonesians dais shad assishness. idea in
inanes donnishness sane hoondee shoo addison oddside. haine dasheens hi donned and. non hoes a donnishness donenesses hsien an his indianians is do ahind donesians on sadness dead. hoidened oh ides an naiads oohs headiness en nosh hone
doa hind dean hosannaed and none. shininess heh sissonnes sneesh in ended shoo she diseased hained. shoes doss do. nonseasoned shadiness dish sidehead shide deadishness heh aha sos. he donnishness snood seas hasheeshes a a do. indii
in dadoed. shoo eshin heed asideness a ananias shoshonean indian shads shoeshine
sad dissensions an needed ha seen shoshonean has sod
shindies oddside. haine dasheens hi donned ness hood a donnishness donenesses hsien an his
hosanna niais. danes hoses deadheaded saddish isidia side shoddiness seen ash dos
dodded hennin dos hanna. heediness nonsenses on adonidin dads. hi ads ended oh hoe esse a a as din noddi seen on do. heinie odessa. ashiness
and. non hoes heh sissonnes sneesh in ended indianians is do ahind hained. shoes doss do. non
shoddied nose diseasedness in shad headiness hand essoinee diseasedness. nasions
honda. shindies dined dos ionian diseasedness senses
an sension a dissensions ansae soon sienese and assession a hen. noes deodand
seasoned shadiness dish sidehead sad dissensions an
shoo she diseasedness hood a donnishness
nondenseness en inosine a addends iso don hasheeshes
aonian shinnies aid anonad anoas aah odes en dianisidine aids a disseise disseised.
needed ha seen shoshonean has sod dodded hennin aide indienne hoodies dis a neo sadis. indians nondiseased ado hose assheadedness nesses shadiness heeds a and has insaneness sissonnes
donenesses hsien an his indianians is do ahind
donenesses hi assheadedness seas. deaness odd dodded ode aedes shedhand. hi
dos hanna. heediness nonsenses on adonidin honda. hid nonadhesion a inns seaside shoeshine sea sheenies
oases ease hennas haine indonesians an end. hasheeshes deadishness shod in.
hained. shoes doss do. nonseasoned shadiness shindies dined dos ionian diseasedness senses non so has. sends adinidan denseness dodo sons neo insee
dossed soda essede a deediness so deadnesses sons has. sanenesses sin in neo nan
sansi. assession ends deadishness assessed hasheeshes hi add a nonaid a nides a
dish sidehead sad dissensions an needed ha denseness en inosine a addends iso don hasheeshes on indonesians dais shad assishness. idea indonesians on
dens non hens. sees a dieses naish adossed do. indiana hides hi diseasedness disease
sadness dead. hoidened oh ides an naiads oohs headiness en hoe disseise senonian. sheds ninnies ashes. nondiseased inanes donnishness sane
seen shoshonean has sod dodded hennin dos aide indienne hoodies dis a neo sadis. indians non
nosh hone shide deadishness heh aha sos. he donnishness hoondee shoo addison doa hind dean hosannaed and none. shininess shindies odd
hanna. heediness nonsenses on adonidin honda. diseased hid nonadhesion a inns seaside shoeshine
side. haine dasheens hi donned and. non hoes heh sissonnes sneesh in ended shoo
snood seas hasheeshes a a do. indii in dadoed. shoo eshin she diseasedness hood a donnishness donenesses hsien an his indianians is do ahind
shindies dined dos ionian diseasedness senses sea sheenies so has. sends adinidan denseness dodo heed asideness a ananias shoshonean indian shads shoeshine hained. shoes doss do. nonseasoned shadiness dish sidehead sad dissensions an
nondenseness en inosine a addends iso don sons neo insee on indonesians dais shad assishness.
needed ha seen shoshonean has sod dodded hennin dos hanna. heediness nonsenses
hosanna niais. danes hoses deadheaded saddish isidia
on adonidin honda. shindies dined dos ionian diseasedness senses nondenseness en
idea indonesians on sadness dead. hoidened oh side shoddiness seen ash dos dads. hi ads ended oh hoe inosine a addends iso don hasheeshes aide indienne hoodies dis a neo sadis. indians
hasheeshes aide indienne hoodies dis a neo
esse a a as din noddi seen on do. heinie odessa. ashiness nondiseased hid nonadhesion a inns seaside shoeshine sea sheenies so has. sends
some italic shapes) in order to translate liveliness and speed.
b) Finding personality
Even if the first attempts looked considerably unbalanced it was
already possible to spot the early features of the typeface. In order
to stick to the brief, it was therefore necessary to define appropriate
characteristics for this typeface, the main goal being to develop an
original design that would distinguish it from the existing typefaces,
but also legible and functional enough to be used in a magazine.
Consequently, it would be a typeface with relatively low contrast,
fairly pronounced serifs and a certain dynamic stroke movement.
'’.,:;-() «
The contrast the lettershapes was added progressively. The first
letters had almost no contrast at all. Once I added contrast, I had to
balance it between the letters, to give them a general homogeneity
when they are set in a text. [fig.7]
In the meantime, in order to insist on this dynamic feeling,
strong bracketed serifs where added and I started playing with the
modulation of the curves, so that they became thinner when joining
with the stems.
During one of the several feedback sessions we had with Gerry,
he pointed out that the nice thing about my design was this dynamic
stroke movement that is noticeable in the bowl of the “d” [fig.8],
and that I should try to reproduce this effect on the other letters.
As a result, the shape of the serif changed as well: in order to balance
the “swinging effect” created by the stroke's movement, both
sides of the serifs have been designed differently (one side bracketed,
and the other with a soft angle). [fig.9 & 10]
bcdeo 789ABC
c) Refinements and adjustments
Lilith Laborey MATD 08-09 oeuf_sample
fig. 9. Studying various serif shapes. At some point, I started developing the rest of the character set,
Scale: 90%
fig. 8. Illustration of the diagonal stress (round shapes) [126/151,2 pts]
based on the 8 letters I already had. This helped me distinguish the
inconsistencies
QRSTU abcdef
and the lack of contrast between the letters. Bearing
in mind that the typeface had to be legible and functional, I then
started to set up a system connecting the letters in terms of look in
feel: adjusting the contrast, the proportions, harmonizing the stroke
widths.
adhesion
One of the main issues was the deep cuts in the strokes connections
where the round stroke met a straight one (e.g. lowercase “n” or
Lilith Laborey MATD 08-09 Lilith Laborey MATD oeuf_sample 08-09 Lilith Laborey MATD oeuf_sample090122 08-09 08/12/2008 15:08 oeuf_sample_090129 22/01/2009 printer:............................................
2:13 29/01/2009 printer:............................................ printer:............................................
“d”) introducing a shifted and pointy angle in the counters (even
more noticeable at small sizes). Therefore, I was advised to apply a
shallower joint (I noticed later that it would also help the distinction
adhesion
between
klmno mnopq
the roman and the italic). [fig.11]
fig.10. Actual serifs of Capoeira roman. [111/133,2 pts]
fig.11. Evolution of the letter «n» throughout the design process.
9 pts
8
9 pts 8 pts 9 pts 8 pts 7 pts 8 pts 7 pts 5 pts 7 pts 5 pts
5 pts
9
printer:............................................

adhesion
adhesion
adhesion
adhesion
adhesion
adhesion
fig. 14. Interpolation using multiple masters: the previous version
being the first, and the new being the third. Scale: 33%
adhesion
adhesion
fig.17. Comparing the first version of the italic with the last one.
[63/75,6 pts]
fig.18. Illustration of the main features of Capoeira italic. [201/241,2 pts]
fig.15. Drawings made with two pencils taped together. Scale: 25%
fig.16. Trying to introduce liveliness and speed in the drawings of the
italic. Scale: 46%
hand
10
fig.12. Terminal trials (pencil over printout).
Scale: 30%
n
six
fig.19. Unlike the lowercases of Capoeira roman,
the italics are strongly influenced by a
handwritten movement: deep joints, smooth
connections, narrow counters and large
instrokes and outsrokes. [190/228 pts]
I also struggled finding the correct shape and weight for the terminals,
and it took me a while to find a shape that would both follow
the general aspect of the rest of the typeface, and stand out enough
to be noticed. [fig.12 & 13]
acfjry
fig.13. Current terminals of Capoeira regular. [84/100,8 pts]
Besides, I had to adjust the general weight of the typeface, which
was too light when set as a text. On his second visit, Gerard suggested
I should therefore use the multiple master technology, interpolating
between the actual weight and a bolder version of it, in order to
find a suitable weight. [fig.14]
d) Building an italic
The design of the italic was introduced during a workshop held by
Victor Gaultney. We were taught how to give a cursive aspect to
the roman, reproducing the movement and the change of direction
of a broad nib pen. To do so, we used two pencils taped together,
drawing on a slanted version of the existing roman and adjusting
over the curves' transition. [fig.15] At the mean time, it was also an
opportunity for me to reintroduce some of the features of the roman
abandoned earlier, like the deep joints smoothly connecting to the
stem. In addition to that narrow counter, and large instrokes and
outstrokes were applied as well (losing the serif of the roman, except
on the descender of the letter “p”). [fig.16,17 & 18]
Thus, after adapting the overall contrast when set next to the roman,
the italic ended up looking much more lively and speed, still matching
nicely with the roman. [fig.19 & 20]
big devils from japan
quickly forgot how to
waltz. portez ce whisky au
juge blond qui fume.
fig.20. Comparison of Capoeira roman and Capoeira italic as it is now. [29/34,8 pts]
11

Η εμφάνιση του υπουργού Άμυνας
Geoff Hoon ενώπιον της επιτροπής του
δικαστή Hutton που διερευνά τα αίτια
του θανάτου του καθηγητή David Kelly,
ήταν το προσωρινό αποκορύφωμα στις
εργασίες της επιτροπής, καθώς αύριο
κατα- θέτει ο πρωθυπουργός Tony
Blair. Mr Hoon said he did not believe
Dr Kelly had been poorly treated. The
defence secretary acknowledged he was
aware of the media strategy whereby
Dr Kellys name would be confirmed if
it was put to officers of the Υπουργειο
Εσωτερικων. Ну, здравствуйте,
здравствуйте. Je vois que je vous fais
peur, садитесь и рассказывайте. Так
говорила в июле 1805 года известная
Анна Павловна Шерер, фрейлина и
приближенная императрицы Марии
fig.21.Greek, Latin and Cyrillic set in a same text [9/10,8 pts]
fig.22. Handwritten letters selected by Gerry. Scale: 140%
Феодоровны, встречая важного и
чиновного князя Василия, первого
приехавшего на ее вечер. Еh bien,
mon prince. Gênes et Lucques ne sont
plus que des apanages, des поместья,
de la famille Buonaparte. Non, je vous
préviens, que si vous ne me dites pas,
que nous avons la guerre, si vous vous
permettez encore de pallier toutes les
infamies, toutes les atrocités de cet Antichrist
(ma parole, j”y crois). He said he
did not see how the government could
resist calls for Dr Kelly to appear before
the Commons foreign affairs committee.
Mr Hoon said he asked the committee to
restrict Dr Kellys appearance before it to
minutes out of concern for the scientist.
Asked about suggestions that he
didnt want Dr Kelly to be questioned on
αεηιµρ
αεηιμρ
fig.24. First experience, and last result of Capoeira Greek, using the letters of the Greek
“adhesion”. Scale: [105/126 pts]
12
his views about the dossier,γείου του,
και τα οποία θα μπορούσαν να οδηγή
σουν ενδεχομένως στην αποκάλυψη
του David Kelly. Σειρά πάντως σήμερα
να καταθέσει στην επιτροπή έχει
ένας μάρτυρας που χαρακτηρίζεται
κλειδί για την υπόθεση. Πρόκειται
για τον επικεφαλής της επιτροπής
που συντονίζει την New Scotland Yard,
John Scarlett. отвечал, нисколько не
смутясь такою встречей, вошедший
князь, в придворном, шитом
мундире, в чулках, башмаках, при
звездах, с светлым выражением
плоского лица. Он говорил на том
изысканном французском языке,
на котором не только говорили,
но и думали наши деды, и с теми
тихими, покровительственными
nη uμ
kκк
НПИ
ЦPЊ
fig. 26. A selection of related shapes between
Latin, Greek and Cyrillic. [50/60 pts]
fig.23. Analysis of selected shapes.
Scale: 71%
2.The reform of the Russian alphabet underwent
a change when Tsar Peter I of Russia
(“Peter the Great”) introduced the Civil
Script between 1708 and 1710. The main
aim of this reform, was to make easier the
printing of non-Church books essentially
by simplifying some letterforms, introducing
some news forms and dropping
redundant letters and shapes peculiar to
Church writings. Consequently, the letterforms
were westernized and adopted by the
other languages that were already using the
alphabet.
e) Getting familiar with foreign scripts (Greek & Cyrillic)
The design of the Greek and the Cyrillic started independently but
through the design process they both influenced the design of the
Latin. Preserving their singularity, they still share some similar
features (serifs/terminals, relative proportions), which allow them to
appear equally important when set together on a same page. [fig.21]
First of all, we had in the last week of November, a workshop on
Greek held by Gerry Leonidas, that had a great impact on the later
design developments. We were first asked to copy by hand series of
letter combinations in order to get familiar with the script and it's
important influence of the tool. After selecting the letters that had
the right shapes and proportions [fig.22 & 23], we were quickly
encouraged to digitalize a group of letters (used is the same way as
“adhesion”). The result was that the first attempts designing Greek
letters showed a very naïve comprehension of the script, being too
influenced by the shapes of existing Greek typefaces (that are often
considered as being “too Latinized”, losing of their handwriting
influence) [fig.24]. So I went back to my first drawings, and tried to
reproduce the shapes that translated the best the use of the tool and
the stress of the stroke (instrokes/outsrokes, uninterrupted connections,
etc.). And once I got familiar with the script and stopped
focusing on isolated shapes, it became easier for me to adjust the
proportions and build a common movement throughout the whole
typeface. Still, when set together with Latin, this latter appeared
more geometric because of rhythm created by the repeated vertical
strokes. That's why I had to compensate this effect in Greek, by
condensing some of the round shapes first, and then adjusting the
spacing that needed to be optically balanced (in order to reduce the
condensed effect created by the round letters, frequently clashing
against each other).
αβγδεζηθικλμν
ξοπρσςτυφχψω
fig.25. Preview of the actual Greek lowercases. [48/57,6 pts]
Even if historically, Latin, Greek and Cyrillic scripts are closely related,
Cyrillic has no calligraphic tradition. And since Peter the Great's
reform 2 , many characters in Cyrillic look very similar to Latin (some
of them are almost identical, while others are strongly influenced by
Latin) [fig.26]. Cyrillic lowercases for example, look very much like
Latin small caps, and have much fewer ascenders and descenders.
Therefore, I decided to try to distinguish the Cyrillic from the two
other script insisting on its strong formal aspect (the Greek being
fairly calligraphic and the Latin sharing both aspects).
13

fig. 27. One of Victor's correction on Cyrillic. Scale: 74%
fig. 28. Screenshot of FontLab's metrics window with the letter combination that allows adjusting the spacing (“x” being successively replaced
by “a”, “b”, “c”, “d”,etc.). Scale: 53%.
14
25/06/2009 14:08 printer:............................................
fig. 28. Extract of one of the spacing
test documents, each word using
successively the letters from “a” to “z”
as a first letter. Scale: 150%.
Thanks to Victor Gaultney's visits, I could get regularly feedbacks
from him, which helped me understanding the peculiarities of
Cyrillic letterforms [fig.27]. For example, I was advised to pay attention
that not all lowercase letters have to be on the x-height, that
letters that looked very similar shouldn't have necessarily the same
shapes nor the same thickness, that the letters that look like reversed
Latin characters need to be balanced accordingly, etc.
Again, while designing the Cyrillic, I was sometimes going back
to Latin, trying to establish a relationship between the two scripts,
one script getting inspired by the other. This way, I managed to improve
much quicker both designs, making decisions for one script
or the other.
f) Adjusting the spacing (test documents)
On a visit, Gerard also showed his method of spacing the letters. In
order for the words to look even in a sentence and therefore improving
the overall colour, it was necessary for them to be correctly
spaced. Using several combinations of letters [fig.28], each letter
spacing was adjusted placing the letters between a straight shape
and/or a round shape (in this case, next to the letters “n” and “o”).
Then, series of tests documents were used to check the spacing
between lowercases, capitals and small capitals.
Spacing Test - 12 pts
are apple absolute acronym aorta askew agent adjustab
tumn afternoon agj abracadabra big badger box backpa
chuck clamor cedar dank dvorak democracy dharma dr
fort ephemera eggs ebbey equalize eyed foreign flavors
fudgy grand ghost goblin gentleman hitter hell hungry
incorporate january jump kleptomanic khaki kick kalis
loft lexicon lull light lazy llama lacquer lawyer mafia m
nix neen never google opera orca ossify once optimum
pledge panacea qatar quit quorum query rand rift ribca
shylock size salty sea squash softist stipple saxaphone
thug their trombone trampoline typography umbrella
uproar vick valerie vladimir vagabond vera voodoo whi
winter wrapper weight werewolf xray xiu yessir you yip
zucchini 1234567890 Are Apple Absolute Acronym Aor
isk Azure Aluminum Autumn Afternoon Agj Abracadab
ket Bezier Brashest Coda Chuck Clamor Cedar Dank De
Expensive Echo Evict Effort Ephemera Eggs Ebbey Equ
Fruity Fissure Fax Facts Fudgy Grand Ghost Goblin Ge
mous Igloo Impish Inundate Incorporate January Jump
thenics Koran 15Knocker
Lava Lost Loft Lexicon Lull Ligh
Maxi Minimum Notorious Nix Neen Never Google Oper

0123456789
0123456789
0123456789
fig.30. Capoeira has two sets of figures: old style (default) and lining. An italic variant has also been added. [92/110,4 pts]
fig.33. Screenshot of FontLab's kerning window with the letter combination that allows adjusting the kerning (“v” being successively replaced
by “a”, “b”, “c”, “d”,etc.). Scale: 53%
16
ÀÁÂÃÄĂÅĆĈČĊĎÈé
ÊĚËĒĔĖĜĞĠĤÌÍÎĨÏE
ĬİĴĹŃŇÑÒÓÔÕÖŎŔŘ
ŚŜŠŤÙÚÛŨÜŪŬŮẀ
ẂŴẄỲÝŶŸŹŽŻÐÞà
áâãäāăåąæaéćĉčċçè
éêěëēĕėęĝğġìíî ĩ ï īįıĵ
ķĺļńňñņòóôõöōŏőø
oeŕŗřśŝšşșßţùúûũü
ūŭůűųẁẃŵẅỳýŷÿźž
żðþàáâaéèéêîôù Ά Έ
Ή Ί Ϊ ΌΎΫΏάέήίϊ ΐ όύ
ΰϋώЙїёіјĥќўѓЃЁЇЌЎй
fig. 31. Capoeira's extended character set covers
Unicode” Latin extend A block.
[16/19,2pts]
éé
fig.32. The angle and the shape of the
diacritical mark changes according to
the case. [72/86,4 pts]
3 Expanding the character set and adjusting the spacing.
a) Small caps/caps
After defining the shapes of the lowercase letters, the idea was to
develop small capitals. They were designed slightly taller compared
to the x-height, in order to adjust the optical balance when set
together in a same text. [fig.29] The small capital letters where then
scaled up to create the uppercase, adjusting their weights and widths
and some of its formal features (larger serifs, stems widths, etc.). The
capital height has been set slightly lower than the ascender height,
in order to reduce clumsiness when set in languages with a higher
frequency of capitals, like German. Moreover, it allows more space
for capital diacritical marks.
hHhxq2323
fig. 29. Capoeira's proportions. [65/78 pts]
b) Designing figures
During the design process two sets of figures were created: old style
(also the default set) and lining. Based on the same design, their
height has been adapted to their use, and subtle differences in stroke
endings were created). Later on, an italic version was also added,
with some “wavy” strokes that reproduce the calligraphic aspect.
[fig.30]
c) Diacritics
Though not specifically mentioned in the brief, I thought that it was
necessary –having already Greek and Cyrillic included in the typeface-
to design the diacritics used by the Latin script, in order to
cover the majority of European languages. The peculiar aspect of the
diacritics lays in the fact that they have been design rather short and
bold, and have a relatively steep angle on lowercases, taking full advantage
of the ascender space (as opposed to the shallow uppercase
diacritics, chosen to save more space in terms of leading). [fig.31 &
32]
g) Metrics classes and kerning pairs
Once the spacing was fixed for the majority of the letters, there
were still some pairs where the space between two letters was either
too big or too small. To fix this problem, kerning was applied on a
selection of problematic combinations. In order to keep the number
of kerning pairs to a minimum, and given that a number of glyphs
shared similar shapes, they where gathered together in kerning classes.
[fig.33]
17

Conclusion
Capoeira, as it was designed during the MA course was not a finished
project. In order to achieve the goals defined in the brief, it
still needs refinements and adjustments. Many possible improvement
and extensions could be added: spacing issues still need to
be fixed, the italic variant should be expanded, a selection of different
weights could be added (going from thin to black) as well as a
caption and a display version, tabular figures,…the list could never
stop!
Nevertheless after this year, I consider that I've acquired enough
historical, theoretical and technical knowledge, to get confident
enough to complete the type family and eventually develop a professional
project on my own.
18
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ŬŮẀẂŴẄỲÝŶŸŹŽŻÐÞabcdefghijk
lmnopqrstuvwxyzabcdefghijklmno
pqrstuvwxyzàáâãäāăåąæaéćĉčċçèéê
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IJKLMNOPQRSTVWXYZabcdefghijklmnopqrstuvwxyzàáâaéèéêîôoeùfffiffi
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ΝΞΟΠΡΣΤΥΦΧΨΩ Ά Έ Ή Ί Ϊ Ό ΎΫ Ώα
βγδεζηθικλμνξοπρσςτυφχψωάέήίϊ
ΐ όύΰϋώАВЕМНОРСТГБПКИХЦЩШ
ЪЫЖЧЬЯЭЅЄІЈУЮЗЛДЙїёіјĥќўѓФЃ
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нплжьъыюзцщшњчяэєљџћдй...
19

Designed by Lilith E. Laborey in july 2009
xelalilith@free.fr
The typeface, the specimen and the RoP were submitted in partial fulfilment of the requirements
for the Master of Arts in Typeface Design, Department of Typography and Graphic
Communication, University of Reading,
Thanks to: Fiona Ross, Gerry Leonidas, Gerard Unger, Michael Twyman, James Mosley
and all the visiting lecturers for sharing their knowledge. My fellow students with whom I
shared all these hours of work. To my family for encouraging me in my choices.