#20 Etelka by Storm Type Foundry
Q1: What should graphic communicators look for when choosing a typeface family for a specific project? What kind of typeface designs are best for pairing with your typeface?
Ans: Associations. Context. Emotions. Typeface is equally powerful as image or illustration - if used properly: size, color, background, other elements of page come to play. Pairing, or better combining with multiple typefaces is my primary aim when starting a typeface project. To put it simple, when doing a progressive Sans-Serif I wish to see it combined with a classical transitional revival, and vice - versa, naturally. Which makes me to design such a counterpart, of course. And it’s never ending. To set a guideline for users on how to combine one font to another may be discussion for ages, but it always depends on an actual project - sometimes you can see very surprising combinations you’d never consider. Try, test, play…
Q2: What were your goals when designing the typeface? What is the one or two most important things graphic communicators should know about the typeface, or how will the family of fonts help them create better design?
Ans: A better design is always a unique design. A font must be also contemporary, design is a language that changes in time very quickly. I design fonts for myself. If it works for me, then it would do fine for you too. I live from graphic design, identity systems, books, editorial works, catalogues etc…, and my solution always includes a new original font. I need the best fonts; I can see all the details and shortcomings. Imagine a 300 pages volume and suddenly I find a minor kerning bug (or two), I hurry to fix it and update immediately. I work with end-users of my fonts; I am one of them.