Italic form – Adapting ‘reflected z’ form in lowercase ‘s’


revised s in context

After my very first design, Jaina Sans Bold (JSB), I started working on the idea of a bookish typeface inspired by Jenson’s classic forms, from June 2016. I call this one Jenriv, initially developed with two styles as Regular and Italic. After Myfonts made another contact to me regarding the once rejected JSB font, I requested them for a review of my Jenriv fonts on the same occasion. The feedback I received was detailed and truly interesting in some points. One of them was about the stress of italic ‘s’ of my design, which then turned to be fruitful for my own perception after all.

Type design study from Old Master – Letter S


Variation of letter S spine

Any letter is hard enough to craft as soon as you began to learn the principles. But I want to say honestly that the S is not only the one I find the most struggling to start with, but also the most fascinating one. The letter is so distinctive, but today we sometimes link it with the horizontally reflected Z version in certain trends. Then these traditional forms of S suddenly bring something vital to me.

Type design study from Old Master – Letter A


Letter A anatomy

Dürer is one of my favorites. He’s also been regarded as the greatest German Old Master of the Northern Renaissance. I still remember the first time I looked at one of Dürer’s most famous drawing – Praying Hands. Since it was time when I first learned how to hold a pencil properly, there was not much to say about any impression or if I got a lesson from him; but I still take notice of him in any reading material.

In honor of Dürer, this is one of my very first try at studying from his typography/type design. Later, I will try to take another subjects such as classic human proportion, which I believe can support me a lot in drawing and design.