FONT ANALYSIS
Content requirements
- Information on the type designer: person and typ
- Possibly an interview, work and creations,
- Psychogram, history of development, classification
- Typefaces, meaningful letter analysis
- Formatting, kerning, legibility, font comparison
- Application examples
in the 2nd semester of media design
Typography 2nd semester: Josephine Tinapp, Olivia Böhm
The task of the second semester in the subject "Typography" was to design a font analysis in the form of a book. Each group in the course decided on a font. After a bit of research, Olivia and I came across the font "Mr Eaves Modern" by Zuzana Licko, which can be classified as a sans-serif font. The special thing about this font is that it combines the classic features of a grotesque with a very modern touch. We liked the font so much because it is the perfect combination of "ordinary" and "extraordinary".
"Mr Eaves" is the sans serif complement to "Mrs Eaves", a font also created by Zuzana Licko and published by Emigre in 1996. Mrs Eaves is a contemporary interpretation of Baskerville's typefaces. The name was inspired by Baskerville's wife, Sarah Eaves. Mr Eaves' proportions are very similar to those of Mrs Eaves, but Zuzana Licko allowed herself a little more freedom in the design. She wanted to avoid the serifs looking like they had been cut off. Mr Eaves is available in two versions, the "Mr Eaves Sans" and the "Mr Eaves Modern".
The Modern version is characterized by a harmonious combination of elegance and modernity, carefully balanced proportions and subtle details. Although at first glance it has some similarities with well-known geometric grotesque fonts, its unique elements make it stand out from the competition. It is not a run-of-the-mill font, nor is it a particularly well-known font, but it is perfectly suited for headlines and body text. Mr Eaves Modern is available in numerous styles and can therefore be integrated into design projects in many ways.
When designing the book, we made sure to keep it as simple as possible - but still meaningful. We have largely dispensed with the use of colors and images in order to keep the focus on the text itself. The layout is also kept simple, because "like is treated like". The paper is a white, slightly yellowish 120 gram Rivoli paper. It therefore feels good in the hand, yet does not appear too heavy or bulky. The book cover is made of a brick-red Satogami material, which is delicate but feels incredibly valuable.
Even though this project was hard work, we are all the more proud of the end result and it always gives us immense pleasure to hold the book in our hands. The feeling of having created something of your own - and already in the second semester - is indescribable.