My typeface has developed through an ebb and flow kind of process. Each exploration I have done has lead me to my final piece, however it could not have happened without a bit of backtracking, random tangents and changes in plans. For example, I found that in order to bring my typographic travels to China, I had to first visit France.
I chose my topic of Chinese writing systems because I am currently taking a Chinese Art History class, which I immensely enjoy. I knew that the information I’m learning in that class could easily apply to my typeface, and make my experience better in both classes. I was so set on that idea that I didn’t consider how much of a challenge it would be to try to channel a culture which is not my own.
My research explored ancient Chinese writing as well as modern. I learned about how the characters are composed today, and how they became that way. I looked at calendars, charts, poetry, paintings… and still, even with all this knowledge, I couldn’t quite figure out how to make a good typeface with a Chinese influence. (The term “good” is important because I could easily make a terrible typeface constructed out of a couple copied brush-strokes. This was not my goal.)
Once I got to experimenting with form, I found that it was a lack of experience with a calligraphy brush and ink that was getting in my way, as well as my preconceived notions of what a “good” typeface is. As a person who is naturally attracted to rules, symmetry and simplicity, my forms just did not look Chinese enough. I let previous experiences with type influence my forms too much. So I scrapped those sketched forms and invested in a couple brushes and some sumi ink. I painted plenty of letterforms in a watercolor sketchbook, but I was still missing something. My forms were still too limited. It was enough of a challenge to paint the letterforms, let alone with a Chinese influence.
When it came time to critique my progress, the class agreed that I needed to loosen up and experiment more. It was then that I had the idea to paint large letterforms while intoxicated. So the following Friday night, with ink in one hand and a glass of rum and coke in another, I took to my large pad of newsprint. I blared music and painted the lyrics I heard. Because I was intoxicated, I let myself make mistakes. I didn’t over-think what I was creating, and because of this, my night was a success. None of the forms I made that night ended up in my final alphabet, however it was a much-needed lesson in loosening up.
After reviewing the letters I created that night, Bethany and I noticed that the forms written while listening to French music were more appealing than the others. I considered redirecting my typeface to have French influences, and I tried to write more while listening to French music. However, I was rather disappointed with myself for giving up on the Chinese approach, given all that research I had done. I gave Chinese writing one more shot, and while listening to the soundtrack to The Way of the Samurai (which ironically was set in Japan, starred an American actor and was composed by a German man—but at least had Asian instruments)…
the forms finally surfaced from the pool of my consciousness.
What I painted that day are the closest to my final typeface. I am quite pleased with how they’ve turned out, and I’m glad that I gave my original concept one last chance.
My current final form is anything but final—truth be told, I tried out what I thought would be an interesting enough design, but it feels as if it’s lacking. I will continue to modify. What it is at this moment is a snippet of translated Daoist texts. I find the words to fit my process quite well because I had to discover my personal habits (the self) with the brush before I could create the forms I wanted. It’s placed upon an image of rice paper. There are many words to this excerpt, however it only covers about 18 letters, with just one capitol. Perhaps I can still develop this into something worthwhile…
Great process documentation!
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