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ジョナサン・ヘフラーさんの書体デザインTwitterアドバイス
Netflixの人気シリーズ「アート・オブ・デザイン」にも出演した、超有名な書体デザイナーのジョナサン・へフラーさんが、Twitterで書体デザインへのアドバイスをすごい勢いで投稿していたので紹介したい。Hoefler&Co.アカウントがへフラーさん。(要点だけ抜粋して書きます。「」で書いてても超意訳です)
posting by request. Working on the full lowercase so this is just typeset to show context pic.twitter.com/mOdW75qRAX
— Jessica Hische (@jessicahische) February 21, 2020
まずひとつめ。ジェシカ・ヒシュさんが書いたこの小文字。(ヒシュさんもとてもとても著名なレタリングアーティスト)
I wonder if turning the S clockwise is all it needs? (Also possible that you’ll want to add weight in the spine, but I’d start with rotating it, to see if it helps.) —> pic.twitter.com/9VimNQ18dW
— Hoefler&Co. (@HoeflerCo) February 22, 2020
「sをちょっと時計回りに回転するだけで十分かも?」
I also wondered about the weights in the T (blue, green) vs the weight of the G’s descender (orange). I’d be curious what happens if you rationalize these by heavying up the T, unless that makes things too bland. —> pic.twitter.com/Fcm6fk2Nsp
— Hoefler&Co. (@HoeflerCo) February 22, 2020
tとgのディセンダー。「tを太くしてそろえたらどうなるか興味があるよ。退屈になりすぎなければだけど」
I’m very intrigued by the thicker-than-expected joins, which give things a cheerful insouciance. Possible that the upper one is too shallow, or gaining speed as it approaches the stem? —> pic.twitter.com/oxGTeVRUAn
— Hoefler&Co. (@HoeflerCo) February 22, 2020
「接続部分がふつうより太くてかわいい。でもちょっと上が浅すぎかも?」
If the B is intentionally charming & unmannered, maybe it’s worth making the O less geometric? Some *slight* fattening up of its corners might be worth looking at. —> pic.twitter.com/PxRtD95kwy
— Hoefler&Co. (@HoeflerCo) February 22, 2020
「もしかしたらOをちょっとだけ幾何学的でなくしたらいいかも」(すこし四角くする)
A small thought on the A: I have a feeling that if you keep these off-curves in place, but slide the on-curves left, it might even out the “speed” of these curves, if that’s useful and what you want. —> pic.twitter.com/gxZUQBzwkT
— Hoefler&Co. (@HoeflerCo) February 22, 2020
「ちょっとだけカーブを左にずらすといいような気がするんだ」
One last thought: to my eye anyway, the bottom of the E feels a little heavier than the top. If it’s intentional, maybe push it further? (If not, pull it back?) I think this will be cheerful either way, the question is just what you’re looking for. —> pic.twitter.com/XZN6mVdxev
— Hoefler&Co. (@HoeflerCo) February 22, 2020
「上と下の太さがちがうの、わざとならもっと強調してもいいかも?」
Something I am cooking up for a small sewing business from France. — the e to t connection is causing some troubles but love the retro vintage look. pic.twitter.com/tZWZCYmAdU
— Paul von Excite (@PaulvonExcite) February 22, 2020
ふたつめはロゴデザイナーのポール・フォン・エキサイトさん(かな?)が制作中のロゴ。ポールさんは「eとtの接続がうまくいかないんだけど、レトロな感じは気に入ってる」とのこと。
Here’s a look at the comparative size of the joins between letters. Not necessarily a problem, but the E-T is the biggest: wonder if that’s what’s making it look odd to you? —> pic.twitter.com/RjKsKVjQV4
— Hoefler&Co. (@HoeflerCo) February 23, 2020
「接続を比べてみたよ。悪いわけじゃないけど、ET間が大きいね」
I suppose the obvious way to change this would be to lower the exit stroke of the E, but... —> pic.twitter.com/iHQ8dujdHU
— Hoefler&Co. (@HoeflerCo) February 23, 2020
「eの最終ストロークを下げたら解決できるけど…」
...this could invite something else, too: changing the angle of the top stroke, so that it’s a little juicier, like the other curves in the logo. —> pic.twitter.com/pSjFaxKwlP
— Hoefler&Co. (@HoeflerCo) February 23, 2020
「すると真ん中のストロークも下げなきゃかも。形もかわいい」
In fact, maybe it’s the counter (enclosed by the top loop) that could benefit from this, more than the exit stroke? I suspect you share my same desire not to break the continuity of the N-E, but I think it’s safe to try, and definitely supported by your C-A decision. —> pic.twitter.com/wZlf6mLKPu
— Hoefler&Co. (@HoeflerCo) February 23, 2020
「nからのストロークがつながらなくなるって思うかもだけど、いいんじゃないかな」
Another way of looking at this E is to compare the “speed” of these two curves. Maybe this adjustment helps make them more comparable? (If it’s something you want, that is.) —> pic.twitter.com/AaH2lb9yEk
— Hoefler&Co. (@HoeflerCo) February 23, 2020
「あとこうすると左側のカーブと『スピード』があうかも」
Some other thoughts, in case they’re useful. A few adjustments to the fit might help: I’m especially feeling that the first E is drifting right, between the N and T, and that C-A could be looser. See the small size version to get the overall gestalt of the fit. —> pic.twitter.com/12ueOBecN0
— Hoefler&Co. (@HoeflerCo) February 23, 2020
文字間。+のところをもうちょい空けたい。小さくして確認するといい。
Also, I noticed that these two Ts were different, in terms of the treatment of their tips & the tangency of their curves. It’s not a problem — certainly every Old Style “ff” ligature has intentionally different peaks — but I wanted to point it out, in case it was an accident. —> pic.twitter.com/I1c8icWYfn
— Hoefler&Co. (@HoeflerCo) February 23, 2020
「tの頂上がちがうのに気づいたよ。もちろんこれが悪いわけじゃないよ。オールドスタイルの“tt”リガチャはちがうしね」
Also, to my eye, the A is a little wide. It might be worth spacing it between Ns to give you a “control” for your typical spacing: try an “nnann” with your letters, & see what you think. —> pic.twitter.com/u2cLBbz0pG
— Hoefler&Co. (@HoeflerCo) February 23, 2020
「aがちょっと幅広いかも?」「“nnann”って組んでスペーシングをみるといいかも」
I’d also keep an eye on these weights, which might vary a little more than they need to. A single-storey A is always going to be a monster to resolve, and heavying the hairlines too much will make it sluggish, but you might be able to push it a little more. Worth a try, maybe. —> pic.twitter.com/6PuN2B0M8b
— Hoefler&Co. (@HoeflerCo) February 23, 2020
「ウエイトがちょっとだけばらつきすぎかも。一階建てのaはいつもちょうやっかいだ」(二階建てって言いたかった?)
If you’re noodling with the A anyway, I’d be curious to see what happens if the center stroke moves down, to reduce the counter. It might change the personality too much, & not be what you want, though it also might help with tight channels & that tricky inflection point. —> pic.twitter.com/Y430mBRV8c
— Hoefler&Co. (@HoeflerCo) February 23, 2020
「個性が減っちゃうかもだし、思ってるのじゃなくなるかもだけど」aの真ん中のストロークを下げる。カウンターが小さくなり、接続へのラインが解決するかも。
Two final thoughts, and I’m really picking nits here, but in case you’re seeing what I am, here goes. I have a feeling that moving this point to the right — really, really slightly — will smooth out your C. And, finally, —> pic.twitter.com/fJXV9optBS
— Hoefler&Co. (@HoeflerCo) February 23, 2020
「すごい細かいことだけど…」Cのこのポイントを「ほんとにほんとにちょっとだけ」右に。
I found myself noticing that you’re using two different approaches to the terminals: the A is very round, its right side curving back in to meet the hairline, where the C is more lachrymal (50¢ word, “tear-shaped) instead. Not a problem, but perhaps an oppty for resolution? —> pic.twitter.com/ZC2MstfKVd
— Hoefler&Co. (@HoeflerCo) February 23, 2020
ターミナルの形がちがう。
Anyway, that’s what I’ve got. Hope this helps! I really like the personality of this mark. Get your client to commission a lighter version, too: it’ll be useful at smaller sizes, but moreover you’ll have fun drawing it. :) —Jonathan
— Hoefler&Co. (@HoeflerCo) February 23, 2020
「役立つといいな! すごく個性があって好きだ。細いのも提案したら、小さいサイズでも使いやすいし、きっといいよ。書くの楽しいしね!」
本題からそれるけど、へフラーさんのコメントはすごく丁寧で、デザイナーの意図を損ねないよう注意されていてすごくいいなと思った。
「〜をやってみるとどうかな」
「すごくかわいい感じがあるね」
「このわざとつたなくしてるのがすごくいいんだけど、ちょっとだけ…」
「ねらってるのと違うかもだけど…」
「ぼくと同じ感覚かわからないんだけど」
「役立つかわからないけど、思ったことは」
From time to time, I've done impromptu type clinics on Twitter. I thought I might try and make this a regular feature, so if you’re working on letterforms and could use a second set of eyes, feel free to DM me. —JH pic.twitter.com/x73Eu28ipM
— Hoefler&Co. (@HoeflerCo) February 24, 2020
「この即興診断を恒例にしようかな。レターフォーム作業をしていて、誰かにみてもらいたかったら、DMしてね」だそう!
こんにちは。読んでいただいてありがとうございます。