Semilla was developed by Alejandro Paul and published by Sudtipos. Semilla includes 1 style. p > I invest a great deal of time following two obsessions: product packaging and hand lettering. Together with a few other minor obsessions, those 2 have actually been my significant ones for numerous years now, I have actually lastly reached the point where I can in fact claim them as "fixations" without getting a significant response from the little voice in the back of my head.

When you invest so much time investigating and studying a topic, you end up being really focused, directionally and objectively. However of course a few of the research study product you run into turns out to be digressive to whatever your focus happens to be at the time, so you absorb what you can from it, then rack it - like the star bobblehead that amused you for a while, but is now a nearly unnoticeable accessory consuming dust and feathers somewhere in your environment.

And similar to the bobblehead may fall off the shelf one day to advise you of its presence, a few of my lettering research material unveiled itself in my head one day for no particular reason.

Hand lettering is now primarily perceived as an American art. Somebody with my historic knowledge about lettering might be snooty adequate to reach pointing out the British origins of practically everything American, consisting of lettering - but for one of the most part, the contemporary point of view partners fantastic lettering with America. The very same viewpoint likewise associates blackletter, gothics and sans serifs with Germany.

So you can picture my simultaneous surprise and impatience when, in my research study for one of my American lettering-based fonts, I faced a German lettering book from 1953, by an artist called Bentele. It was no use for me since it didn't move my focus at that particular time, but a few months ago I was admiring what we take for given - the sky is blue, blackletter is German, lettering is American - and discovered myself turning through the pages of that book again.

The lettering because book is upbeat and casual sign making things, but it has a slightly strange and youthful experimentation at its heart. I expect I discover it odd since it deviates a lot from the American stuff I'm utilized to dealing with for so long now. To make a long story short, what's inside that German book worked as the semilla, which is Spanish for seed, for the typeface you see all over these pages.

With Semilla, my typical routine headed out the window. My life for a while was all Bezier all the time. No special analog or digital brushes or pens were used in drawing these types. They're the product of a real Bezier procedure, all beginning with a point producing a curve to another point, which draws a curve to another point, and so on. It's an extremely time-consuming process, but at the end I am pleased that it can get to practically the exact same results simpler and more standard methods accomplish.

And as normal with my fonts, the OpenType is plenty and a lot of fun. Explore substitution and automation is still a great pleasure for me. It is the OpenType that constantly saves me from the relatively limitless work hours every type designer should inevitably have to deal with at one point in his career.

The artistic pictures utilized in this pamphlet are by French photographer and designer Stéphane Giner. He is really deserving of your patronage, so please keep an eye out for his magnificent work.

I hope you like Semilla and take pleasure in utilizing it. I sense that it marks a transition to a more curious and versatile period in my profession, but just time will inform.

Font Family: Semilla

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