A calligraphic inspired typeface developer
striving to innovate calligraphy and
typography for the digital information era.

I modernize new forms of calligraphy,
type and design through researching
historic methodologies rooted in beautiful
craftsmanship
, tradition & type-technology.

IG: @JoeyGrable94

Humility | issue no. 58

  /    /  Humility | issue no. 58
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Humility (n): Freedom from pride or arrogance; The quality or state of being humble.

In my second year working with Fragments Literary Magazine, I had the fortune of collaborating with fellow designer, Samantha Schnabel. Together we conducted an entire overhaul of the layout and composed hand calligraphy for the cover typography. The theme for this years magazine was Humility. With this in mind we decided to excersize humility as designers and look back at the print/book design tradition as sources of inspiration.

Typeface Selection

I began by selecting a typefaces to use for this years edition. Using the internet, I traveled back in time to the Trajan Column in Rome Italy. The triumphant Trajan capital letters incribed read with grandeur as a display text. Next I needed a font for the artists’ names to compliment these trajan capitals. For that I settled on a chancellery swach italic, another classic roman letterform. Lastly for the body font, I selected a font called Day Roman, which is a digitally redrawn version of famous typefase by 16th century French punchcutter François Guyot.

Magazine Layout Construction

In my research I stumbled upon the canons of page construction. The rules of page layout were popularized by Jan Tschichold. However, historian & artist Raúl Rosarivo first analyzed renaissance era books in his work “Divina proporción tipográfica (Typographical Divine Proportion)” (1947). Both Tschichold and Rosarivo came to the same conclusion that Gutenberg, Peter Schöffer, Nicolaus Jenson and other masters used a golden ratio of 2:3—which later became the canon of page construction.

Cover Calligraphy

The cover design was one of the last things we worked on. Using the skills I learned from calligraphy classes & workshops, I played around with the letters in fragments, but eventually settled on a structured composition that used the similar letterforms as the selected typefaces.

Sources & Inspiration

Jan Tschichold’s The Form of the Book: Essays on the Morality of Good Design (1991)

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