The creation process of Fontana typeface
When discussing typography in South America, Rubén Fontana (Buenos Aires, 1942) is a name that stands out prominently. As a graphic designer, typographer, teacher, and researcher, Rubén’s career exemplifies a body of work based on extensive visual culture and a profound understanding of typographic forms. He played a pioneering and influential role in shaping and contributing to the typographic landscape of the Spanish-speaking world. His spirit, intelligence, and professional achievements have been recognized with numerous awards.
We spoke with Rubén about the development of the Fontana ND typeface, which he designed to improve the editing of the magazine tipoGráfica. In his account, he tells us about the entire journey from the initial steps to the final use of the typeface.
BACKGROUND AND APPROACH
The magazine tipoGráfica, for which the Fontana typeface was designed, was founded in 1987. We inquired about the genesis of both the magazine and the typeface: How did the idea for each come about?
TipoGráfica magazine, founded in 1987, was an independent publication specializing in typography and design that was published continuously for 20 years. Fontana typeface was designed specifically to be used in the magazine.
Every typeface is crafted from minute details. I invest ample time whenever I face a new design. I question the purpose behind creating a new typeface: What necessitates its existence? What unique qualities does it offer that aren’t found in existing options? This inquiry forms the basis for justifying the effort—a quest to carve out a niche and introduce something distinct. While formality often dominates considerations, it’s just one aspect among many. Effective design solutions typically stem from identifying pre-existing needs or addressing specific problems.
In November 1994, we made the decision that tipoGráfica magazine, a publication we edited focusing on design and typography, should have its own distinct typeface. With this goal in mind, we embarked on the project, knowing that the upcoming issue of tpG was scheduled for printing in April of the following year. There was a tremendous enthusiasm for the prospect of utilizing a font crafted by our own hands. We began with preliminary sketches and dedicated ourselves intensely to the task in the months that followed. The objective of the new font design was to enhance the overall performance of the magazine’s pages.
TECHNICAL AND FORMAL PREMISES AND INTENT
What premises were the typographic creation based on, and what objectives were pursued?
The inception of this typeface stemmed from an examination of the technical challenges in reproducing small-sized fonts, aiming to prevent ink accumulation from closing off letterforms. These technical constraints guided the exploration of the stylistic choices suitable for conveying the intended message.
The permissions for designing a new typeface are as diverse as the myriad circumstances that may arise as specific communication needs. It’s always advisable to anticipate a use that guides its purpose, as in any other design process, though without losing sight that once a typeface hits the market, its destiny may veer towards unforeseen uses, which may not necessarily consider the originally intended purposes.
The specific needs of the tpG magazine served as the functional parameter, with the Spanish language providing the natural and cultural context: the primary condition of typographic design is to preserve and consider the language convention. The design took into account the softer characteristic of written words in our language, which, among other peculiarities, employs a greater quantity of vowels. Differentiation of morphologically similar signs was also addressed, and lowercase numerals were included in the basic set to prevent numbers from standing out within the text.
The typographic system presented is also a result of the desire to give a stronger typographic color to the word and, consequently, to the typographic block.
The outcome of this process is a system of 30 typographic alternatives based on the knowledge of Spanish. The “ñ” symbol, unique to the language, was studied along with the “ch” and certain resolutions related to the descenders of manuscripts, such as in the “f”, which help facilitate word recognition. A system of predefined colors and proportions was employed throughout the series, and versions for text and titles were developed. The design difference between regular and italic fonts maintains a historical criterion, with italics being more compact than regular fonts.
FONTANA ND, 2001
After four years of this design phase, the second version was commissioned, which is more aligned with the original idea and is the one we market through Bauer Types. This was the work presented at the tipoGráfica BuenosAires conference in November 2001. In 2002, the typeface received the Certificate of Excellence in Typographic Design from the Association of Typography Designers in Moscow and AtypI as part of the bukva:raz! Competition. In 2003, it was awarded the Certificate of Excellence in Typographic Design by the Type Directors Club of New York.
As we conclude this narrative, it becomes crucial to understand the ultimate purpose and expectations of this typeface. Typeface designs are crafted to be utilized. It is you, the designers, who impart significance and perpetuity to the creation of a typeface. Or, as expressed by our esteemed Ruben:
The validation of a typeface lies in its usage, and ultimately, time is the true arbiter of its utility, permanence, and enduring relevance, transcending transient fashion trends. Debugging occurs almost organically and often, certain parallel functionalities are discovered by users.
¡Use Fontana ND on your project!
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