Letterspace vs hairspace9/3/2023 ![]() Germany stipulates official requirements for typefaces for children who are just beginning to read and write, to have letterforms that facilitate the learning process. ![]() When developing a typeface for first readers, type designers need to consider many specific aspects. We’d like to think the decision was primarily emotional, and it was the actual design of the typeface that won over the client. Because we were going up against formidable competition, we were elated when the project was awarded to us in autumn 2019. With digital media in mind, we made sure our design had a significantly lower contrast to achieve better rendering and legibility on-screen, even in small type sizes.Īrmed with the two typeface proposals and a thorough analysis of the shortcomings of Cornelsen Verlag’s current typography and suggestions for areas of improvement, we presented our pitch to the company’s representatives. We also decided against teardrop-shaped terminals to achieve an original, contemporary look. Drawing characters that are more open and increasing the spacing worked wonders. We applied a similar approach as for CV Dida Sans when designing the new typeface. The new CV Dida Serif is an improvement on Century Schoolbook, for example, which also has been used in Cornelsen Verlag publications. These properties lend the typeface a lively and friendly air, and they also ensure that it performs equally well in print and on the screen.Ī serif face, also called Antiqua, lends itself better for immersive reading, particularly long texts for adult education or high school. The relatively low x-height emphasises the difference between the lowercase letters and the capitals, which received classical proportions. Compared to FF Schulbuch, as mentioned earlier, CV Dida’s character shapes are more open, and the spacing is somewhat looser. Instead of going for a radical shake-up, we opted for a gradual and organic improvement. In addition, we wanted the typeface to lend Cornelsen Verlag’s brand values a typographic identity. It had to accommodate a wide range of topics and a variety of users, from German to mathematics, from elementary to vocational and adult education. ![]() We aimed for a design that would perform admirably in print and on-screen with our sketch for the sans serif. Viktor Nübel designed CV Dida Serif while Botio Nikoltchev took care of CV Dida Sans. To allow us to proceed swiftly, we divided the workload. This insight made us decide to develop a coherent system consisting of two type families: a sans serif and a serif. It was also going to be used in materials for high school graduates or adult education, where letterforms take a back seat and the content becomes the main focus. The typeface not only needed to help novice readers learn the individual letters. The range of applications was considerable. Besides the aesthetic aspect, there were many advantages to commissioning a custom typeface: it would considerably cut down on licensing costs, clean up the typographic palette, allow for having fonts with character sets tailored to the specific needs of the publisher and its products, and strengthen the brand by having consistent typography throughout the different media.Īfter processing the information outlined in the brief, we realised that a single typeface could not meet the project’s demands and scope. Examining FF Schulbuch Nord, which is used for many of their first readers’ books, showed that its closed letterforms and narrow spacing are not suitable for children just learning to read and write. A thorough analysis revealed the flaws in the fonts used so far. It included an overview of the many typefaces currently used by Cornelsen Verlag, some of which had been designed specifically for the publisher. ![]() The original brief stipulated which kind of typeface was needed and for which publications.
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