Three final letterforms—the lowercase s, capital S, and lowercase g—present unique challenges. This section includes analysis and techniques for drawing these difficult forms.
- [Narrator] The lowercase S is a balancing act.…The size and shape of the serifs…dictate how open or closed the form appears.…The counter-spaces are impacted by the width of the form,…and the angle and weight of the spine.…To balance the form,…the lower counter will be larger than the top.…But take care not to overdo it.…It's often helpful to turn the form…upside-down during design, to help judge the balance.…The S, perhaps more than any other letter,…needs to be judged in context.…
Always place it between letters,…as you judge it at small sizes or from across the room.…It's easy for it to become too tight…or slender, compared to other glyphs.…The cap S is also tricky.…It looks simple enough, but you'll quickly discover…that it has a lot of moving parts,…or rather, it's one big moving part.…The half-serifs at the top and bottom…should follow the style of the cap C.…The spine, the curved portion in the middle,…can be relatively vertical, to nearly horizontal.…
The angle of the spine will affect the width of the letter.…
- Why study typography?
- What makes a typeface great?
- Stroke angle, weight, and contrast
- Shape variations
- Finding good models
- Typeface vs. lettering
- Drawing the basic glyphs
- Producing a functioning font
- Printing, critiquing, and revising
Skill Level Beginner
Graphic Design Foundations: Typographywith Ina Saltz2h 23m Beginner
Allan Haley on the Evolution of Typeface Designwith Kristin Ellison1h 38m Intermediate
Creating a Hand-Drawn Type Portraitwith Von Glitschka1h 31m Intermediate
1. What Makes a Typeface Great?
2. What Makes a Great Typeface?
4. Drawing the Basic Glyphs
5. Producing a Functioning Font
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