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.
A few months back, the Director of the School of Art & Design at UW-Stout in collaboration with the AIGA student board, asked me to give a presentation on my design career. I was happy to oblige. Part of the presentation was on graphic design work, but I also talked about the development of the font P22 Marcel. I was thrilled that my Letterform instructor, Bill DeHoff — the person who first introduced me to the beautiful art of typography — attended the presentation.
Last week, I had the pleasure of having coffee with White Bear Lake author David LaRochelle. He primarily writes children’s books, so our genres couldn’t be more different. But he has a 20+ year career as an author, and I had questions only an industry veteran would be able to answer.