{"id":80365,"date":"2024-06-17T05:47:02","date_gmt":"2024-06-17T12:47:02","guid":{"rendered":"https:\/\/creativemarket.com\/blog\/?p=80365"},"modified":"2024-06-17T05:47:03","modified_gmt":"2024-06-17T12:47:03","slug":"typeface-design-tips-rain-foundry","status":"publish","type":"post","link":"https:\/\/creativemarket.com\/blog\/typeface-design-tips-rain-foundry","title":{"rendered":"The Art and Science of Typeface Design: Insider Takes from Rain Foundry’s Carl Rain"},"content":{"rendered":"\n

A passionate typeface designer, Carl Rain brings a unique blend of artistry and technical skill to his creations through Rain Foundry<\/a>. In this interview, Carl takes us through his journey from a weekend developer to a celebrated type designer, sharing insights into his creative process, inspirations, and the future of type design. Whether you’re an aspiring typographer or simply fascinated by the world of fonts, Carl’s story is sure to inspire.
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<\/span>What inspired you to design typefaces in the first place?<\/strong><\/span><\/h2>\n\n\n\n

In my nascent years as a developer on the weekends, I did a small type design class by Faber&Lo<\/a>. In the class, I drew a geometric and really got passionate about it. Later on, I started doing calligraphy, reading typographic and type design theory before I would attempt to draw a single glyph on a font creation app. Thenafter I would tinker around with the nodes. What led me to become a type designer was the idea of creating a legacy for myself and earning money while drinking a nice cold brew, loafing in my loafers.<\/p>\n\n\n\n

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Carl draws a plain geometric while Mary tells him that the joins need to be reduced for legibility<\/em><\/figcaption><\/figure>\n\n\n\n

<\/span>When creating a new typeface, where does your creative process start?<\/strong><\/span><\/h2>\n\n\n\n

Firstly, I\u2019d have to find a prime reference and several secondary references. From there, I\u2019d draw some roughs and after that tinker with the nodes. <\/p>\n\n\n\n

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Typefaces are everywhere! In the street, on a poster, in a library, on a book, and on a menu. Anywhere and everywhere. Whatever I see and like, I\u2019ll amalgamate and interpret as such. <\/p>\n<\/blockquote>\n\n\n\n

An example of this is Pinecone<\/a>, where I bought a poster abroad and was drawn to the floral ornaments.<\/p>\n\n\n\n

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How would you define your signature design style? <\/strong><\/p>\n\n\n\n

I tend to draw typefaces in a fundamental and expressive way. Calligraphic stresses (angled stress), narrow joins and some idiosyncrasies on certain glyphs. This is so that it isn\u2019t dry when you read it.<\/p>\n\n\n\n

<\/span>There’s a dreamlike, escapist character to your fonts: how did that come about? <\/strong><\/span><\/h2>\n\n\n\n

The dreamlike characteristics stem from my background in music (I compose pieces for the piano). In composing pieces you impart expression and give it purpose. This is applied throughout all my typefaces. For the most part, I have a theme for each typeface and where that goes, the design shall follow. I\u2019m not into rote following of periods or styles, I just draw and interpret as I see to my liking. I find it yields fantastic results!<\/p>\n\n\n\n

<\/span>Out of all the typefaces you\u2019ve designed, what is your favorite family?<\/strong><\/span><\/h2>\n\n\n\n

As of writing this and what\u2019s currently in Creative Market it would be Conacher<\/a>. The typeface infuses geometric properties with penciled illustrations. I use it in my business documents and it really brings something dry to life.<\/p>\n\n\n\n

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Glyphs of the Arcane! Typeface set in Conacher.<\/em><\/figcaption><\/figure>\n\n\n\n
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I also find that Rosewater<\/a> and Cardamom<\/a> are a perfect socket for the font meta on Creative Market. Elegant and airy, yet imparts a certain strength to a design.<\/p>\n\n\n\n

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Rosewater in-play on a sign with playful uppercase vowels<\/figcaption><\/figure>\n\n\n\n
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<\/span>What typefaces are you working on right now? <\/strong><\/span><\/h2>\n\n\n\n

I\u2019m primarily working on expanding the weights on my existing fonts. For this year there will be a few new fonts on my end. As of writing, I\u2019m putting final touches on the upgraded version of Cardamom. It should be up (hopefully when this interview is up). I\u2019m going to potentially add back Saffron (with more weights and higher contrast) and create a new typeface called Coriander which I have ideas brewing in my head. Look forward to those typefaces down the road.<\/p>\n\n\n\n

<\/span>What kind of brand do you envision using your typefaces?<\/strong><\/span><\/h2>\n\n\n\n

For me, I feel a brand that needs that expression in their designs. Perhaps in cookbooks, graphic design, architecture, gardening and lifestyle books, menus, business cards, and artistic, illustrative, and painterly website portfolios. I would like my typefaces to give that feeling of elation when you first see something that feels completely novel.<\/p>\n\n\n\n

If you had to help a brand select its primary font, what would be some of your criteria?<\/strong><\/p>\n\n\n\n