Interview with Joana Correia (Part 2)
This post is the second part of the interview with our good friend and partner Joana Correia from Nova Type Foundry (you can read the first part here).
For this second part of the interview, we packed great insights about the creative process of designing a new typeface, the specifics of independent foundries, being a woman in design, the business of typedesign, Joana's inspirations and a few reading recommendations for those starting a career.
Words: Ofício, Photography: José Guilherme Marques.
Hi Joana, thank you again for your time! Let's now talk about your creative process. What inspires you when creating a new typeface?
I like to look at packaging in supermarkets when I travel. I also like to look at newspapers and magazines to see how other typefaces are used. Depending on what typeface I want to design and in which style, I will look at different sources of inspiration. I'm inspired by shapes and how they can construct the personality of a typeface.
In Type Design, keeping up with the latest trends while being true to your vision and aesthetics is crucial. How do you keep a balance between these two sides?
I enjoy looking at other typefaces that are being released. Sometimes, I like some trends as they connect with my aesthetic preferences, but sometimes they don't. I focus on designing a typeface that can be useful and versatile and bring warmth or elegance to the text. Trends pass and come back, so the best thing is to stick to what you think will be a long-term design.
What are the main steps when creating a new typeface, from design to launching?
We start by getting the design right and taking the time to make the first two masters. Making sure it is practical, bringing a new point of view on the style, and ensuring it is well crafted. After designing the first master, the time will be spent on production, creating all the glyphs and weights according to the first base master. This stage takes a long time, followed by kerning and final production. Before launching the new typeface, we must create images and content for the retailers and social media.
And what about creating, marketing, and selling typography? What's your process different from that of a commercial foundry/agency?
It only varies a little except for the budget! Being small and independent, I like to involve external partners. The images and marketing content are created with a partner (Ofício, it's us) who helps design the imagery for the marketing content for the typeface. Sometimes, I might ask other colleague graphic designers to create images for the typefaces. I used to do it all myself, but I decided to delegate this part two years ago as it's not my expertise.
Joana Correia, Nova Type Foundry.
What are the main benefits of buying, using, or supporting Typography made by small independent foundries?
The main benefits are that you get a distinctive product you enjoy using and will get close customer support if needed. Also, by supporting your favourite designers, you allow them to create new work. Where you invest your money is what will make more of the design you enjoy, so by investing in the creators directly, you are supporting new designs. When licensing fonts directly, the type designer keeps 100% of the royalties, so you are giving them more than 50% by the same value to you.
How would you describe the Type community?
That's an interesting question. I only have a little to compare, but sometimes graphic designer communities are competitive and not so lovely.
But in our case, the type community is very supportive and open to dialogue and feedback. Being part of this community is one of the things that makes me enjoy this job so much. I have created a friendly group of friends, mentors, and colleagues over the years that I go to many times in my career for feedback, advice, and inspiration.
I stay in touch with colleagues on calls and business conferences. It's great to be back at the meetings and reconnect with colleagues. A small foundry operating from Portugal must have a good network of colleagues. It's crucial to help keep you updated on the latest software advances, new tools, design ideas, or business ideas.
The primary advice is have to young type designers is to build a strong network and nurture it.
Typography is a specific craft. What is your vision regarding Typography education, not just for type designers but also for graphic designers?
I was a teacher of type design for communication designers for seven years, and it was challenging because type design is a focused craft that is very different from the creativity that communication designers are used to. The approach to typography education should include an interactive use of typefaces and typography through editorial, motion, and creative uses. Also, introducing them to calligraphy and type design adds value to how they become more knowledgeable about fonts and how to use typefaces to communicate and improve their work as communication designers.
What should graphic designers be attentive to when buying a typeface?
There are many aspects, but let me try to bring up a short list:
It needs to fit your purpose; what are you using it for? This one will already define if it's a serif, sans serif, or script.
What is the language support you need? Any need for special characters? (example, math symbols, arrows?)
Check the quality standards, and look for trusted retailers or foundries.
WOMEN IN TYPE DESIGN
It was hard initially to feel comfortable as a solopreneur for the first years, especially starting my foundry.
Still, working freelance went very well; my colleagues were supportive and helped me grow and learn. The experience has been good overall. There were moments where it still felt like you were the odd one out in conferences, but not anymore.
When I started, some new women players were in the game, but still a tiny percentage. It has changed since then, especially in how women are recognized as essential participants in the field, though the number is still small.
I remember getting inspired by Alice Savoie and Veronika Burian when I started in 2010. Now, women are beginning their foundries but still in small numbers compared to men. This reality makes the industry very much male in presence. Still, the support and recognition that women are getting are much higher than before.
