Q: How did designing multiple scripts at the same within one project influence your workflow and/or design thinking?

A: The pressure to ‘harmonize’ between scripts felt like a daunting prospect at the beginning of the project, particularly because I was working with scripts whose angle of contrast were opposite to each other. It can be easy to fall into the trap of trying to copy features between scripts (e.g trying to take serifs from the Latin and incorporate it somehow into the design of the other script) but there are other ways to harmonize such as texture, colour density, and optical height, that then allow you to keep to true to the typographic traditions of the scripts you’re working with.

Q: What is something you did (or you wish you had done/known) in preparation for the course that ended up being helpful during the development of the typeface?

A: Something I wish I had done: listen to your gut when trying to find the direction/voice for your typeface instead of doing what you ‘think’ you should do. While it’s always helpful to take the advice of others, you also need to be happy with the direction of your project. Something I did that was helpful: understand that I’m not here to reinvent the wheel and embrace writing traditions. And most importantly, accept that my process may be different from those around me. Whether it was designing from analog sketches or starting directly in Glyphs — I went with the process that felt natural and most efficient to me in that moment.

Q: Aside from producing new typefaces, what are some other ways in which you hope to contribute to type design and the wider design community?

A: I hope to empower other women and people of colour to pursue type design in the same way that others in this industry have done for me, through mentorship, workshops, type crits, and open collaboration.