More typeface design practice, this time with serifs.

Continuing the Maximum project, this project called for further development of that typeface. I decided, though, to start fresh and work on a Didot-inspired typeface that was more square while maintaining the serif and stroke contrast. The font is called Corbeil after the town near which Fermin Didot was born.

Step 1

In my sketches, I experimented with thick/thin stroke contrast, and different ways of angling the curves of the [a] and [n]. I would try to incorporate these angled curves into the final glyph designs.

The initial version of the font was round and the x-height was quite low, and what I had sketched was more stylized. I chose to square the glyphs and increase the x-height.

A screenshot of Corbeil during refinement in Glyphs 2.

Step 2: Finesse Type

Next, I refined the letterforms. There were a bunch of adjustments here, including lifting the x-height and flattening the extremes.

Step 3: Finish the Alphabet

While finishing all the glyphs, I had a hard time getting the curves consistent across the whole alphabet, especially in the [a], [s], [b,d], and [p,q].

The full minuscule alphabet.

Some thumbnails of possible poster layouts. I chose to go with the tilted variant.

Step 4: Poster Drafting

Once the alphabet was mostly refined and complete, I could start working on the specimen poster. My initial design compared Baskerville, Didot, and Bodoni to Corbeil, and included a map of their origins.

Step 5: Final Poster

The final poster is printed in color at 18 × 24 inches on Epson professional photo stock.

The final poster.

(Typography, Type Design)