Tobias-D. Albert
06 LL Blankenhorn - Development / 2. first step of development
LL Blankenhorn - Development / 2. first step of development
My first step on the way to LL Blankenhorn consisted of an analysis of Fritz Blankenhorn's covers for Johannes Mario Simmel.
This showed that the letterings can be divided into three different types. I called these three types Blankenhorn Brush, Blankenhorn Script, and Blankenhorn Formal ( 1, 2, 3).
Fortunately, this analysis convinced Lineto to support three font designs instead of the one they had originally planned.
To better understand these types, I learned to write the fonts with a pointed brush. Unfortunately, there were no sketches in Fritz Blankenhorn's estate showing the process on his covers. However, I could easily imagine that he first wrote the typeface and then possibly cut it out of thin cardboard in order to formalize the calligraphic result ( 4, 5, 6 ).
So I started working on the forms for the fonts with this method. Always on the basis of whole word pictures, the first digital drawings were created. As you can see from the images, I used calligraphy as an orientation rather than a meticulous template (7, 8, 9).
Link to the font at Lineto:
lineto.com/typefaces/blankenhorn
06 LL Blankenhorn - Development / 2. first step of development
LL Blankenhorn - Development / 2. first step of development
My first step on the way to LL Blankenhorn consisted of an analysis of Fritz Blankenhorn's covers for Johannes Mario Simmel.
This showed that the letterings can be divided into three different types. I called these three types Blankenhorn Brush, Blankenhorn Script, and Blankenhorn Formal ( 1, 2, 3).
Fortunately, this analysis convinced Lineto to support three font designs instead of the one they had originally planned.
To better understand these types, I learned to write the fonts with a pointed brush. Unfortunately, there were no sketches in Fritz Blankenhorn's estate showing the process on his covers. However, I could easily imagine that he first wrote the typeface and then possibly cut it out of thin cardboard in order to formalize the calligraphic result ( 4, 5, 6 ).
So I started working on the forms for the fonts with this method. Always on the basis of whole word pictures, the first digital drawings were created. As you can see from the images, I used calligraphy as an orientation rather than a meticulous template (7, 8, 9).
Link to the font at Lineto:
lineto.com/typefaces/blankenhorn