With the stem widths established, you can approach basic round elements: the lowercase o, the cap O, and the shoulder.
- [Instructor] With four straight letters under your belt,…draw the lowercase o.…As with the uppercase I,…the swells of the round stroke will need…to be thicker than the I stroke,…but not as thick as the cap I.…And, as with the wedge serif on the I,…the top and bottom should overshoot…the x-height and baseline.…Combine the o with the other letters in sequence.…Judge with special attention to…the side bearings and adjust.…As with the lowercase o,…the swells of the cap o curves should be slightly thicker…than the vertical strokes,…and the top and bottom should overshoot…the cap height and baseline.…
The o will be wider than the h,…but should be sympathetic in width,…neither overly wide or overly slim in comparison.…The cap o like the wedge serif and the lowercase o,…will reveal the stress of the design.…Set a sequence. Judge and adjust.…With two curved letters completed,…turn your attention to the lowercase n.…Face the first stem on the lowercase I.…Add a second vertical to establish a width.…And here, you can think of the relationship…
- 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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