Writing vs. Drawing
I recently read an interesting article in a forum about Ball terminals. The discussion initially asked about the origins of Ball terminals but gradually expanded into a broader conversation about the relationship between tools and typeface design. Ball terminals always sparked a curiosity for me.
*'Terminal' refers to the shape formed by the curved strokes seen in the letters 'a, c, f, r, t'. It is divided into various types depending on its shape, among which rounded one is called a 'ball terminal'.
The opinions were divided into two main thoughts. First, that the shape could naturally arise from specific penmanship and writing tools. Second, that it could be closer to "drawing" or "lettering," filling in outlines made by a pen.
Among the responses, I found Nick Shinn's insights particularly striking, and with his permission, I quote his comment here:
"When you press hard with a sharp nib, you can create extremely thick strokes. This was used to create the strong contrast in Didone typefaces popular at the time. It also suited the delicate drawing and filling in with ink to create various shapes. Type designers of that era were often tasked to integrate both 'writing' and 'drawing' into their type designs. Calligraphers, type designers, and letter cutters all competed and collaborated to create the finest typefaces of their time, imbued with creative tension."
This reminded me that although I've always considered font creation as "drawing," essentially every font originates from "writing." Traces of writing remain subtly within the well-crafted geometric forms of characters. While developing 「SD MoveIt」, I continuously reminded myself of this connection.
Graphic Novels and 20th Century Signage
The inception of 「SD MoveIt」 lies within the typography of graphic novels. Graphically, novel typefaces often need to fit extensive dialogue within narrow bubbles, leading to vertically elongated forms. I've seen instances where 「Sandoll Dunggulrim」 was artificially narrowed to mimic this style, which was quite intriguing.
Character personality and voice also influence font choice in graphic novels, often requiring textured and angled letterforms. 「SD MoveIt」 embodies these characteristics.
「SD MoveIt」 and various fonts in Graphic Novels
Another inspiration was the casual lettering style used in 20th-century signage, known as speed stroke. Developed over time following the tricks of the trade by sign painters, this style typically features low stroke contrast and is executed with a brush. The flexible, sweeping curves exude a unique liveliness and a laid-back, casual vibe.
Modern Digitalization of Sign lettering: 「ZC Casual Typeface」
In 「SD MoveIt」, I aimed to capture this impression through the articulation of stroke beginnings and ends, the natural fluctuation in width, and the relaxed and fluid movement in the curves of the Korean characters 'ㄴ', 'ㄷ', 'ㄹ', 'ㅇ'. Each weight of 「SD MoveIt」 reflects the characteristics of different writing instruments: plus pen, computer sign pen, water marker, and broad nib marker.
Appendix: 「SD MoveIt」 101
Let’s look at some ways to effectively use "MoveIt." Whether mixing scripts, tools, or glyphs, or adjusting for a specific tone—be it playful or solemn—"MoveIt" can accommodate. The narrow width and the written speed imbue the characters with sharp angles and pointed terminations, creating a dynamic interplay of bold curves and sharp ends.
1. Mix it Up
Please mix English and Korean, along with the styles of writing tools. Mix everything: Korean and pharmaceuticals, English and pharmaceuticals, alternative glyphs and standard glyphs.
Try mixing Korean and English like a cocktail
2. Utilizing Non-Rectangular Forms
「SD MoveIt」 features characters with and without bases (final consonants) that differ in length, also known as non-rectangular forms. Depending on your intent, you can use only characters with bases or only those without. Pay attention to the mix ratio.
3. Size and Letter Spacing
「SD MoveIt」 is a headline font designed around 22pt. I found that using 4-5 characters per line and enlarging it to over 60pt with letter spacing narrowed to -10 to -15 made the focus clearer and looked better. When using more than 25 characters per line at sizes less than 15pt, it felt more readable to increase the letter spacing by 5 to 10, based on the Brush style. Feel free to adjust it to match the desired feeling.
Enlarge the writing and narrow the spacing [Applied -10 letter spacing]
4. 「SD MoveIt」 Alternate Glyphs*
There are 98 alternate glyphs for Korean characters from '가' to '하,' including '마', '므', '뫄', '말', '밀,' and one period. This allows you to enhance the calligraphic feel. The usage is simple: if the OpenType settings are enabled in the menu, just drag the desired character. A small box will pop up to select the alternate glyph.
*Available in Adobe Illustrator, InDesign, and Photoshop.
Try comparing ‘그',’길','질','다' briefly!
5. Underline Glyph*
Easily draw an underline that matches the text. It is located in the “Glyphs” menu. Insert the underline at the end of the text you want to underline. Then break the outline of the underline and use the direct selection tool (white arrow) to extend it.
*Available in Adobe Illustrator, InDesign, and Photoshop.
'샤샤샤샥'+Underline
6. ‘Shear Tool’ Fuction
Use the 'Shear Tool' in Adobe Illustrator to alter the slant of the characters. The steeper the slant, the faster the handwriting appears. In Photoshop, you can also perform free transform by typing 'ctrl+t' and select "Shear" from the right-click menu. (2-4 degrees is recommended)
Do you feel the difference of 2 degrees?
7. ‘Intertwine’ Function
Also a feature in Adobe Illustrator, this changes the front/back position of overlapped objects. Using it can create a twisted form like a pretzel! Combinations of Marker and Liner, and Brush and Liner are recommended.
Routine of Seperating Bone and Flesh
「SD MoveIt」 is a calligraphy font that captures the mobility of the hand.
The hand's mobility is more versatile than we think. We write without realizing how many changes in direction and pressure we make. The outlines that result are mystical. To best represent real texture and mobility, we should expose all irregularities evident in handwriting. After scanning the handwriting, digitizing it in steps from real to abstract without losing the realistic form seems appropriate. However, I wanted a more refined form.
Therefore, in the initial stage of shaping and structuring 「SD MoveIt」, I repeated the following three routines:
1) Write on paper → Select well-formed characters → Extract the structure
2) Prepare the sturcture from ①
3) Prepare selected characters → Extract external features → Apply to the structure from ①
This routine was aided by an article(Link) about the font production of 'Chilseong Shipyard', particularly the following quote:
"The production process of Sandoll Chilseong Shipyard can be summarized as 'extracting the skeleton from the original and re-fleshing it.' The skeleton is like the core running through the center of the drawn line, somewhat impervious to the tools or materials used, like the typographic DNA contained within the person. Once the skeleton is aligned, the flesh is applied. If the skeleton is flawed, adding flesh might require adjusting both skeleton and flesh, akin to falling into an antlion pit."
Stroke and Déformer
The process of refining the artistic features derived from handwriting into type was a major concern. After much deliberation on which direction to refine, I used the Déformer* technique commonly employed in painting, comics, and illustration. The shapes defined in this direction seem like they will help integrate well with images. Here are a few such forms:
*'Déformer' in art refers to changing or causing the form of a subject to change (transformation, distortion), often used in comics and illustration to simplify or exaggerate the representation of the subject.
These shapes are not naturally achievable through writing, just as there are no people whose side profiles resemble cats or whose faces are half eyes.
Type and Story
My friend is an excellent essay teacher. During the COVID-19 pandemic, I watched him teach remotely.
I got to listen to his lectures over his shoulder. One of his remarks to the students resonated with me: "The most honest stories are the best stories, so write honestly." It's a tough task to bring out one's deep stories and present them well to others. Honest stories can sometimes be painful and sometimes refreshing. The graphic novels I enjoyed contained such stories, sharing the precious experiences and emotions of the authors, and their perspectives on the world. I hoped 「SD MoveIt」 would suit both joyful and sad languages.
Thus, 「SD MoveIt」 allows users to experience both a cute, casual impression and a serious, sensitive impression depending on the content they write. The narrow width and the speed-written style result in many sharp angles within the characters. The pointed forms created at the ends of strokes are also scattered about. What feeling might these lively curves convey when encountered?
Lastly
Until January 3, 2024, you can receive a 3-month free trial of 「SD MoveIt」 from its detail page.(Link) I invite you to explore and enjoy the depth and versatility of 「SD MoveIt」.
Author: Lim Hye-eun, Sandoll Planning and Operations Team