https://frammenti.stefanseifert.com Typeface Works and Essays Thu, 30 May 2019 11:33:08 +0000 en-US hourly 1 https://wordpress.org/?v=6.4.5 https://frammenti.stefanseifert.com/wp-content/uploads/2016/12/cropped-Homescree_icon-32x32.png https://frammenti.stefanseifert.com 32 32 https://frammenti.stefanseifert.com/2016/12/counter-forms-and-inspiration/ https://frammenti.stefanseifert.com/2016/12/counter-forms-and-inspiration/#respond Sun, 04 Dec 2016 06:55:40 +0000 http://www.seifertfragments.de/?p=1402

In some occasions it can be useful to check your letter forms partially. It can be helpful to delete the outer line of a letter temporarily and observe its so called counter for a while maybe in comparison to others. Although I personally tend to not overestimate this aspect of a letter design it is generally not less important then the outer part of a letter form like a painting or photography that is, at least in part, defined by its dark shadow parts. As I am fan of curves that are not “too” round and show some kind of edginess I am checking here if this is also true for my counter parts. Look at the counter of the Urbino ‘R’ in this case (in the middle) and note the slight flat part of the curve beyond the maximum point on its right. It should be where the outer line “waits” a little while turning and moving backwards on the inside of the letter. I liked this part whereas the other form of an upside down turned ‘a’ (the one to its right) is less good in my eyes. For inspiration purposes I kept an eye on beautifully photographed Natalia by Paolo Roversi. You may look at form parts like her lower #leg to learn about natural rounding and how the muscles tend to flatten their form a little. This is what I am searching for in my characters’ design as well. Credits: Paolo Roversi | Photography]]>

In some occasions it can be useful to check your letter forms partially. It can be helpful to delete the outer line of a letter temporarily and observe its so called counter for a while maybe in comparison to others. Although I personally tend to not overestimate this aspect of a letter design it is generally not less important then the outer part of a letter form like a painting or photography that is, at least in part, defined by its dark shadow parts. As I am fan of curves that are not “too” round and show some kind of edginess I am checking here if this is also true for my counter parts. Look at the counter of the Urbino ‘R’ in this case (in the middle) and note the slight flat part of the curve beyond the maximum point on its right. It should be where the outer line “waits” a little while turning and moving backwards on the inside of the letter. I liked this part whereas the other form of an upside down turned ‘a’ (the one to its right) is less good in my eyes. For inspiration purposes I kept an eye on beautifully photographed Natalia by Paolo Roversi. You may look at form parts like her lower #leg to learn about natural rounding and how the muscles tend to flatten their form a little. This is what I am searching for in my characters’ design as well. Credits: Paolo Roversi | Photography]]> https://frammenti.stefanseifert.com/2016/12/counter-forms-and-inspiration/feed/ 0 https://frammenti.stefanseifert.com/typeface/unique/ https://frammenti.stefanseifert.com/typeface/unique/#respond Mon, 03 Oct 2016 06:35:43 +0000 http://www.seifertfragments.de/?post_type=nor-portfolio&p=1292

Out of my researches initiated by Luca Stoppini for Vogue Italy magazine evolved later a series of typefaces and graphics that treat the theme of ‘Silhouettes’ and lines as was once the center of couture dressing art. Credits: [Dior Atelier] · Paolo Roversi | Photography]]>

Out of my researches initiated by Luca Stoppini for Vogue Italy magazine evolved later a series of typefaces and graphics that treat the theme of ‘Silhouettes’ and lines as was once the center of couture dressing art. Credits: [Dior Atelier] · Paolo Roversi | Photography]]> https://frammenti.stefanseifert.com/typeface/unique/feed/ 0