My desk is a mess. I’m really jealous of people who can clean up properly, because that is a quality I lack.
So if you would first see my desk , you wouldn’t believe how precise I am as a graphic designer. I am great on the square millimeter.
I designed this brand for a special product of a Dutch video-company. It’s a combination of a script font and a serif font. And has two ligatures.
In the old days of lead typesetting, some combinations of letters caused big problems. The f , for instance, had a flag that hung over, making it a vulnerable part of the letter.
If the next letter was an i, the curl of the f and the tip of the i would clash against each other, which could demolish the f. Such a letter pair was redrawn as a new symbol, called a ligature.
A well-known ligature over here in Holland is the old florin sign fl. Other ligatures are:
- the character that is used in email addresses, the at-sign @
- the ampersand or et-sign &
In some fonts, the origin of the ampersand, the e and the t, is still recognizable.
Nowadays ligatures are not current. Computer typesetting does not require ligatures any longer. Although programs like Adobe InDesign give you a choice to use ligatures in your text.
I love combining old knowledge and new techniques, which is the reason I make ligatures myself sometimes.
In “The story of your life” I have made a combination of the y in ‘story’ and the r in ‘your’. Both letters end in a little circle that I have redrawn into a new sign.
The other ligature is more difficult to discover: it’s a combination of the y in ‘your’ and the i in ‘life’. The dot in the i is made a bit smaller and fused with the tail of the y.
As I stated in the beginning of this blog: a graphic designer has to be precise. A lot of my work is often not noticeable. Adjustments I made in this logotype to make it balanced and matter-of-course are:
- ‘the’ is positioned in a way that the e and the top of the t are nicely going together.
- I shortened the flag in the first f so the space between the s, t and y is in balance. I didn’t want the transverse line of the f collide with the l.
- Then the tail of the f is extended. There is now an imaginary horizontal line along the bottom of the f and life.
It’s tiny details like these that make my work such a joy. It’s funny that the best results emerge when the changes I make are so natural that they are barely noticed. That’s why I always make a booklet for the client to explain the whole process and show him or her the steps I took.