Cygnine… finally.

Guess what everybody… I have a First Class Honours Degree in Graphic Arts and Design! I am very happy. Yay me!

Anyway, on to that pesky typeface I’ve been going on about for a very long time… I have settled on the name Cygnine; it means ‘swan-like’ in Latin. Here is the specimen book I created, to show off the typeface; please let me know what you think.

Enough is Enough

Apologies for my silence over the last couple of weeks, I have been so busy. Rubbish excuse I know, but to be fair I have completed my degree, been creating some logos and new typefaces, and working on the end of year show, and the publication for it!

The show is still open to the public for the rest of the week, why not pop along? There is incredible talent on show, from so many different courses.

I think we’re all sick of hearing about how my Didone typeface is coming along, and I’ve nearly had enough of talking about it! So here are some images showing the finishing touches to the font. It was created in Illustrator, and copied across to Fontographer, as I’m more comfortable working in the Adobe programmes. A quick mention to Mr Jeremy Tankard, one of my favourite typographers; he gave me a few pointers with some of my letters. He really was an incredible help and is very welcoming to students, offering advice to people who genuinely want and ask for it.

Tomorrow I’ll post the final typeface but for now, enjoy my mistakes/remakes…

Type Savvy

Something I have to be wary of when designing a typeface is to hold back sometimes. Embellishment is lovely if done modestly and balanced well over the whole alphabet, numbers, punctuation and any other glyphs a font has; but it’s easily overdone.

The typeface I have been talking to you all about recently, called Swan, is distinguished by the swashes on most of the letters. However, it can be extremely distracting reading a whole passage of text which is set in an over-the-top font. The letters are legible, in that each letter is identifiable, but the whole piece would not be readable.

Sometimes I find myself getting carried away, and trying to add a lot of details to letters which simply don’t. need. it.

Because of this, a while back I decided that the best way to utilise my typeface would be to turn it into two styles; a regular, and a swashed display typeface. Some of the letters are exactly the same, but the more elaborate version can be used for headlines or posters, while the regular version is more readable for chunks of text. As an example, check these vs:





You sometimes have to be ruthless in choosing which letters make the cut; you can see below how many ideas for capital letters there are in my sketchbook:















But you can see that the G i have decided on is quite reserved compared to some of these:












In other news, I’ve got twelve days to finish my degree so my posts may be sparse over the next few weeks, but wish me luck!


Althought you can see some Swan typeface sketches here, there are also a few experimental pieces. By this stage, I had started creating the font in Illustrator, which would then be copied across to Fontographer when complete.

The second page is something I thought of on the train – if I were to create a cube typeface, I could make the capital letters a full cube, and the lowercase would have no left hand-side showing, so it would look like boxes sat next to each other. I hope that makes sense – I’m going to create a post about it soon so hopefully that will explain it better!

I think that most typographers have a letter which they like drawing the most, and which can become a catalyst for an entire typeface. For me, I thik it is probably the capital letter A. I have no idea why really – it might sound uncreative but it’s probably simply because that’s where the alphabet starts! You can see that I have tried incorporating some curved lines into a very rigid letterform, including trying to make it entire out of circles, including the serifs.

Much more swan stuff coming soon – have a good weekend!