feschtype
Experimental typography study
YEAR
2017
DURATION
6 Weeks
Context
University
The feschtype font is celebrating the eccentric dialect and culture of Vienna.
The assignment was to design a typographic interpretation of a german dialect. Through an in-depth form study, we synthesized the dialect's character, originality, peculiarity, and sound to translate them into typographic expressions.
We used the font Avenir as a starting point for our exploration.
Download the font
Our main reference was a strong sympathy for the notoriously grumpy but hearty attitude, the "Wiener Schmäh".
Early explorations based on Avenir
The Viennese dialect
Listening to the dialect, the strong emphasis on vowels and the binding of vowels struck us. For example, o and i. We wanted to pick up on this characteristic and typographically visualize it. In contrast to other dialects, where the rural population tends to speak strong dialects, in Austria, dialect is not only spoken across all classes but also finds its forms in the capital with Viennese.
One characteristic glyph
The idea was to merge the two letters in typographic form. We designed a range of variations, from clear mergers to micro-typographic approximations of the letters. The merging often resulted in a logo we did not want. To avoid this, we focused on the serifs of the o and the ending at the i.
We created form-giving characteristics for the entire typeface design through the serif on the o and the rounded end of the i. The resulting optical link is strong enough to be perceived as such. At the same time, the independent function of both glyphs was maintained.
Scribbles of the o-i ligature
Tweaking the interaction of individual letters
Details make a typeface
Low x-height and descender underline the handwritten character on the one hand and our draft's very round design language on the other. Further, it gives the entire typeface a very flowing and harmonious appearance. This decision also aesthetically favors the serifs at the o.
As a striking feature, the rounded ends originated from the first shape, the "oi". We transferred this to the entire typeface. The rounding introduces the letter, picks up the round language, and gives word formations the desired swing.
Organic and flowing but still as elegant and buzzing as a Viennese café.
Having started with rounded forms, we wanted them to be characteristic of the typeface, according to the form features we had defined.
The glyphs got an additional swing in their base by slightly slanting the inner punches. Rounded painting leads the eye from letter to letter, increasing readability and showing the dialect's swing.
Group work with
Andres,
Julian,
Miriam
and Ramona.
