#Fonts like trajan how to

I ended up throwing away some of my preconceptions about Trajan and shifting the focus from the flat design to the color aspect, since this was its own project and not an extension of Trajan Pro.

#Fonts like trajan how to

I didn’t quite know how to tackle this particular project, mostly because Trajan is very distinctive and has some “baggage,” whether you like it or not. I quite enjoyed it, although at the beginning I was a bit shy about altering Trajan. How did you feel about working on such an established design as Trajan? Sérgio’s early sketches for Trajan Color. Through experimentation and lots of feedback on the results, it eventually evolved to its present iteration. I originally suggested an inline style as a fallback for the colored sets, more like the drawing one makes when carving letters in stone. The flat inline, in particular, proved quite challenging, if rewarding. The whole team was quite patient with all the “whys” and “hows” and my attempts to discuss new solutions. Although we disagreed a few times, I’m happy to say those were productive discussions that lead to significant improvements. From the beginning Miguel helped guide the direction of the project, while Robert provided more technical feedback relating to the fidelity of the design, or feedback from an outside perspective – a fresh pair of eyes, so to speak – as it is easy to get too attached to your own design. Fortunately they both proved extremely helpful, although in different ways. I’d met Miguel before, in Portugal, but wasn’t quite sure of what to expect from Robert – I knew the name, of course, but barely anything else. What was the collaboration like with Robert Slimbach and Miguel Sousa? The team had been discussing Trajan as a basis for the project for its historical value – both to Adobe Type and as an iconic revival of Roman capitals – and I was quite happy to work on such a famous (sometimes infamous) typeface. Before arriving, I’d talked to Miguel Sousa a few times and we’d discussed the possibility of developing a color font. I was at Adobe in San José for six months, as part of an internship for my MA. What was your role at Adobe, and how did you get involved with Trajan Color? During this whole time I’ve had several odd jobs, although since 2015 I’ve been focusing on type a lot more. For the last four years I’ve been looking to learn and educate myself more about typography.

I first became passionate about type during my BA student years, although my interest for the written and printed word dates far back, to when I was a kid. I’m a 25-year-old designer from Lisbon and, as of November last year, I’m also an MA graduate in editorial design from IPT (Polytechnic Institute of Tomar) in Portugal. Can you tell us a bit about your background?