News: Tagged as Typeboard
Our next TypeBoard takes place on Wednesday 15 May, so the time to submit your typefaces for consideration is fast approaching. But what’s it really like being a FontFont designer? We caught up with one of the newest designers to join the FontFont family, Travis Kochel (designer of the groundbreaking FF Chartwell) to find out about the path that he took to become a type designer and why he chose to submit his already successful typeface Chartwell to our library.
You studied at the School of the Art Institute of Chicago, graduating with your BFA in 2008. What did the design curriculum there look like? Did you have a lot of typography coursework?
Typography was drilled into us. Even in classes not explicitly labeled typography, good type choices and typesetting practices were stressed. At the time it felt more like boot camp, and I actually tried to distance myself from it. It took a few years of real world experience to fully appreciate and understand the value of it. I’m not sure exactly what happened, but it just sort of clicked one day, and turned into an obsession.
What inspired you to start designing type? Did your client work at Scribble Tone help while you started your first typeface?
At the time, my first explorations in type design felt more like a curious exploration of letterforms, and a way to take a break from client work. I think what keeps me coming back to it is a strong desire to control every detail of a project. Type is one of the most basic building blocks of a design piece, and there’s an interesting power that comes with controlling that.
You first released FF Chartwell in 2011 under the TK Type label and it was received really well. As Chartwell was already successful in its own right, what prompted you to submit the typeface to FontFont? Do you think it fared better as a FontFont?
Releasing typefaces on your own comes with self doubt, and the nagging question of how it would fare with the feedback and marketing power of an established foundry. After the initial success of Chartwell, I started working on a few additional styles of charts and thought it would be a great opportunity to see what someone else could bring to it. I’ve always had a great admiration for FontFont, and they’ve taken on many experimental releases in the past, so it seemed like a good fit.
Admittedly, I was a little nervous about making the transition, but it has outperformed my expectations by far. FontFont has really given FF Chartwell an amazing second life. I’m also extremely happy with the team’s solution for the web version. It was a brilliant approach to break free of the font format, and instead focus on the interface.
What was the main advantage working with FontFont? Would you publish future type designs through FontFont again? If so why/if not why not?
I will definitely consider FontFont again if I have a design that fits well into the catalog. The biggest advantage is the feedback and insight from the team. It’s comforting to have experienced eyes looking over everything, and offering outside perspectives. It’s also quite apparent that they care every bit as much as you do about the work.
The nuts and bolts of FF Chartwell’s features really push the boundaries of the OpenType format. Are you tempted to continue experimenting and pushing OpenType technology even further?
There’s a lot of opportunity to push OpenType technology further, and it’s definitely something I think about a lot. I haven’t quite found another opportunity where an OpenType solution makes sense, but I’m keeping my eyes open.
How do you spend your day? Can you carve out regular chunks of time for type design? How does your work/life balance look?
My schedule is very erratic, and it usually comes in weeklong chunks of time being focused on one thing. A rough estimate of my time in the past year:
Chicago, New Zealand, Portland … you seem to get around a lot! Do you think that your geographic location feeds into the results of your design work?
The designers and community in each city have definitely influenced the way I think about and approach design. It brings new ideas and perspectives, but also forces you to think about where you stand on those issues.
What’s next for you? Do you think you will release another typeface in the near-future?
Type design will definitely continue to be a large part of my future. But I also really enjoy having a variety of types of projects to work on. It keeps the days interesting, but also brings new perspectives. FF Chartwell was one of those moments where two seemingly unrelated fields of design happily overlapped.
If you could offer a single piece of advice to an aspiring type designer, what would it be?
Don’t be afraid to make mistakes. Just be sure to learn from them, and keep an open ear to feedback, even after releasing.
For the first time in its history, members of the FontFont TypeBoard will be let loose on stage at TYPO Berlin to critique, commend and appraise typefaces in public. In the inaugural FontFont TypeReview, you have the chance to get your work judged by the likes of Erik Spiekermann, Erik van Blokland, Stephen Coles, Andreas Frohloff, Jürgen Siebert and Ivo Gabrowitsch.
In a fun and fast-paced hour, members of the official FontFont TypeBoard will assess and review entries. It’s a golden opportunity to gain invaluable advice, tips and feedback as to how to develop your typeface further and to hear from some typographic heroes.
So, if you are attending TYPO Berlin or are in Berlin on Friday 17 May and would like your typeface to be judged in front of a live audience, make sure you attend FontFont’s first TypeReview.
How it works
On Friday 17 May at 13.00 in the Nest at the Haus der Kulturen der Welt (House of World Cultures), Erik Spiekermann, Erik van Blokland, Stephen Coles, Andreas Frohloff, Jürgen Siebert and Ivo Gabrowitsch will take to the stage to consider, review and criticize your entry in front of an audience.
How do I enter?
If you would like for your typeface to be publically judged at TYPO Berlin, please come along to the Info Counter on Thursday 16 May with a sample/specimen of your typeface to hand it in. The FontFont TypeReview will then take place the following day, Friday 17 May at 13.00 in the Nest. Due to time constraints, although we’d love to see a full family (if you have one) you can also just enter one weight and style.
I’d really like to enter my typeface to FontFont TypeReview but I don’t have a ticket to TYPO, does this matter?
No, you don’t need a TYPO ticket. This session is open to everyone; just make sure you inform the door staff that you are attending FontFont’s TypeReview.
I don’t want to enter a typeface but I’d still like to watch, is that possible?
Yes, you can still watch. As places are limited, please make sure you arrive on time.
This sounds like a great idea but I’d much prefer to submit my typeface to the official TypeBoard, how do I do so?
The official TypeBoard takes place on 15 May. All details as to how to submit your typeface can be found on our Become a FontFont Designer page.
Can I submit my typeface to the official TypeBoard AND TypeReview?
Yes, of course you can, please just inform us clearly that you would also like your submission to be considered at the TypeReview as well as TypeBoard when you send it. Please note, you will need to be able to attend on the day if you wish to enter TypeReview. All details as to how to submit your typeface to the official TypeBoard can be found on our Become a FontFont Designer page.permalink