I will confess: I didn’t really know what to expect. Friends who had visited Letterform Archive gushed: “It’s amazing.” “You will love it.” “I could have spent an entire day there!”READ MORE
W A R N I N G : B O O K S P O I L E R S A H E A D
Last year at the Association Typographique Internationale (ATypI) conference in Montreal (watch my talk here), I learned ATypI’s 2018 conference would be held in Antwerp, Belgium. After realizing Antwerp was an easy two-hour train ride from Paris, I realized I had found the perfect excuse to return to the City of Lights.
Perhaps it was because he was the only other living person in the graveyard. But the old white-haired man, sitting with a straight back on a stack of wooden stools caught my attention. Or, perhaps it was the sound of his work that piqued my curiosity; the graveyard was silent other than the tapping of his mallet.
Two years ago, Steve Heller invited me to submit images of my type sketchbook. I loved how he didn’t ask whether I had a type sketchbook, rather he assumed I did. It was an honor to share images, but also a bit scary as I’ve never shown my sketchbook to anyone before. After submitting the images and answering a few questions about materials and process, I didn’t hear a word. To be honest, I wasn’t sure if anything ever came of the project.
Recently several people have asked me questions about licensing the font Marcel. Some people had never licensed a font before; others tried but were confused by the font file options or license types. It’s true—the process can be daunting—even for those of us who have licensed fonts before! The goal of this blog is to explain the process, and to make it as easy as possible to license the font based on the handwriting of Marcel Heuzé.READ MORE
Photos: 2012 TypeCon Type Crit. Akira Kobayashi reviewing the test print.
Intense stares from John Downer and Roger Black (just looking at this photo brings about a wave of anxiety).
Several weeks ago, at the ATypI conference in Montreal, I met a delightful woman named May Chung; May is design professor at Nova Scotia College of Art and Design. I don’t recall how we happened upon the topic, but we ended up talking about the 2012 TypeCon conference in Milwaukee. I mentioned I had participated in the Type Crit that year. May’s eyes lit up. She said she watched those critiques, though she didn’t remember the specifics of my critique (…why would she?!). May was holding a big SLR camera in her hand, and I asked her if she had, by chance, taken any photos during the 2012 Type Crit. Yes, she told me, she was certain she had photos from the 2012 Type Crit—though she made no promises whether she had taken any photos of me or during my critique.
I recently returned from five days in Boston attending TypeCon 2017, presented by the Society for Typographic Aficionados. It was five days jam-packed with lectures on type design, designers, type history, type across languages and cultures, along with time to connect with other type designers.READ MORE
The book cover has been finalized! I’m delighted with the final product and am grateful for the work of the cover designer, Erin. I’ve heard people remark they like it; that it has “shelf-appeal.” What people may or may not understand by quickly glancing at the cover, though, is that it has specific design elements that work hard to tell its story.READ MORE
I’ve made many fonts but none of them has a story with as many unexpected discoveries and emotional turns as the story of Marcel.
– Mark Simonson, designer of more than thirty fonts, including the iconic Proxima Nova, Mark Simonson Studio
The question was posed as a curiosity, and I speculate the person who asked expected that after hemming and hawing for a polite amount of time, I’d provide some kind of easy, definitive answer.READ MORE
This week, I am expecting to preview final artwork for the cover of Marcel’s Letters. I generally know what to expect; the final cover artwork will reflect a revised tagline and a few other small artwork and composition revisions.READ MORE
This afternoon I had the pleasure of telling Bill Moran’s University of Minnesota Typography I students about the design of the font P22 Marcel Script, then the story behind the font. READ MORE
Four years ago, at TypeCon 2012, I had the privilege of receiving a short critique from a trio of type design luminaries. At the time, I was still refining the font ‘Marcel’ and I appreciated the opportunity to hear feedback that could help me make the font as good as it could be.READ MORE
Recently, someone asked a great question about the font ‘Marcel Script.’ They wondered if Marcel’s original handwritten letters included all of the individual letterforms I needed to create a basic character set.READ MORE
Yesterday, a small cardboard box arrived, and as I walked up the driveway, I tried to puzzle out who it was from. When I opened it, I was delighted to see a hard-cover book from a Kickstarter campaign I backed months earlier, and had nearly forgotten about.