The Letter Model for Translation Typefaces
Lowercase with a translative contrast
The shapes of different glyphs in any alphabet function in a field of tension between similarity and diversity. If the letters look too similar they become hard to distinguish and when they look to divers they start looking like they came out of different fonts or even different writing systems. Both effects are detrimet to the reading experience. The unifying relationships between form elements in type design can be explained with the Letter Model.
The letter model is a rather crude theoretical construct that Frank Blokland developed for his type design classes at the KABK. For a large portion of the alphabet it simply fails to provide the necessary spare parts.
Understanding letterforms in the context of a modular system makes the interdependent relationships between shapes and proportions easily accessible. The Letter Model reduces complex mechanisms like the dynamic relationship between pennage angle, contrast and relative width of glyphs into a single schematic.
Throughout the alphabet details of letters correspond with each other. An- and Abstriche, terminals or serifs, vertical stems and arcs... This becomes very clear when writing or drawing the roman lower case characters. One method to illustrate these corresponding parts in translation typefaces is the Letter Model. This system of building blocks consists of two verticals representing the ascenders and descenders and cut through the round, central form. This central form represents not only the o and the eyes for b,p,d,q,c and e but parts of this central o also supply all An- and Abstriche. The letter model helps identifying "form modules" shared between the seemingly most different looking letters and provides a useful guideline when it comes to determining width of characters.
Throughout the alphabet details of letters correspond with each other. An- and Abstriche, terminals or serifs, vertical stems and arcs... This becomes very clear when writing or drawing the roman lower case characters. One method to illustrate these corresponding parts in translation typefaces is the Letter Model. This system of building blocks consists of two verticals representing the ascenders and descenders and cut through the round, central form. This central form represents not only the o and the eyes for b,p,d,q,c and e but parts of this central o also supply all An- and Abstriche. The letter model helps identifying "form modules" shared between the seemingly most different looking letters and provides a useful guideline when it comes to determining width of characters.
In this model two perfect circles are offset against each other by the width and the angle of the broad nibbed pen (a). This forms a central, round form with a total height (this will be the x-height) measuring four times the width of the nib represented here by the little blocks on the left of the letter model. The two verticals cut the two circles precisely through their two intersections (b1, b2), i.e., through the points of the highest contrast of the resulting o shape. The An- and Abstriche are segments that originate where the double circle is the thickest (c1, c2) and where the verticals intersect.
As with most rules and systems the letter model needs to be studied and understood and then challenged and (possibly) ignored but most of all it should inspire autonomous thinking.
As with most rules and systems the letter model needs to be studied and understood and then challenged and (possibly) ignored but most of all it should inspire autonomous thinking.
Page 1 of 1 pages
TypeSupply tools:
