femmina
......................................................................................................................... type specimen
femmina
......................................................................................................................... alessandra ravida ´
a
b c d e f g h i j k l m n o p q r s t u v w x y z
introduction femmina is a new typeface designed as major project for my bachelor degree in graphic communication at dublin institute of design. femmina is a feminist typeface inspired by the work of dublin–based artist jesse jones. the overall aim was to design a typeface that would voice modern feminism, communicating strength and anger, but also a sense of dynamism, social renewal and a strive to interrupt the existing system. the typeface was designed also to express themes of female cooperation, plurality, elegance and sensuality. femmina is the voice of empowered modern women, proud and fierce, but also elegant and feminine, socially engaged and striving to make a positive change in society.
elegance power
research william addison dwigginns’ principles of injecting type with “blood and personality” was a strong influence for the design of femmina. the curvaceous nature typical of french typography and the elongated aspects of dainty typefaces, such as mrs eaves by zuzana licko, were identified as desirable feminine qualities in typeface design. whereas the rounded rectangular shapes at the core of the design of forza by hoefler and frere–jones were identified as elements conveying strength and power.
fem typefaces such as syntax by hans eduardmeier, skolar by david brezina and auto by underware were used as paradigms for expressing concepts of movement, tension, energy and dynamism. in particular the use of angled contrast and the tension generated by the juxtaposition of angled counters with smooth contours were a key influence for the design of femmina.
mmina
design jesse jones’ artwork provided the conceptual foundation for the design of the typeface. the overwhelming complexity of feminist themes explored by the artist was deconstructed and classified on the basis of the main overarching concepts. these were used to inform the design of selected letterforms, grouped according to shared anatomical attributes. this process resulted in a typeface with letterforms exhibiting individual character yet balanced design.
vocalization
female cooperation
n n nnn n n n
n n n n n n nn institutional oppression
resonant female spaces body
social renewal
elegance and strenght
female body
minuscul femmina has been deliberately designed as minuscule typeface. the absence of majuscules letterforms is a metaphor for the elimination of patriarchy, a society of equal voices. angular geometries, reminiscent of textura, are mitigated by the discretional use of voluptuous curves and tapered terminals, investing the typeface with tension and energy. bowls are made fuller by curving upwards from top stems, thus achieving improved readability. gestures of resistance are incorporated in the typeface through sharp angled ascending terminals and diamond shaped dots and periods. horizontal strokes and crossbars are replaced by acute angles, conferring a sense of movement and dynamism to the design.
le
angled crossbars
sharp–edged contours, rounded counters
b
upward curve from stem generates wide counters
vertically sheared tapered terminals
open counters
q k distinctive features of femmina’s design, such as open bowls and the arm and leg disconnection from the stem in the letterform ‘k’, symbolise concepts of renewal through interruption.
k
an overall bottom–to–top, left–to–right directionality guides the reader’s eye through the text, however alternate angles have been intentionally introduced to represent concepts of social renewal and change.
bidirectional movement dynamism and alternate directionality are also achieved through the use of moderate stroke contrast generating either top– or bottom–heavy letterforms, yielding a vertical tension via interplay of stroke weights.
the introduction of mild contrast was also functional to impart feminine attributes to the type; tapered terminals, elongated extenders and generous curves further contribute to convey qualities such as elegance and sophistication.
ae on
stroke contrast was deliberately kept to a mild two to one ratio, in order to retain masculine traits of confidence and strength, further reinforced by the vertical axis and rounded rectangular geometries in selected counters.
femmina is the voice of empowered women, proud and fierce, but also elegant and feminine, socially engaged and striving to make a positive change in society.
applications femmina is characterised by moderate x–height and extenders, similar in proportions to avenir by adrian frutiger. despite performing well at text sizes, femmina’s narrow body and distinctive personality is more suited for subheadings and display settings, where its decorative qualities are fully resolved.
ten pt
.................................................................................................................................................................................................... femmina is characterised by moderate x–height and extenders, similar in proportions to avenir by adrian frutiger. despite performing well at text sizes, femmina’s narrow body and distinctive personality is more suited for subheadings and display settings, where its decorative qualities are fully resolved. fourteen pt .......................................................................................................................................................... femmina is characterised by moderate x–height and extenders, similar in proportions to avenir by adrian frutiger. despite performing well at text sizes, femmina’s narrow body and distinctive personality is more suited for subheadings and display settings, where its decorative qualities are fully resolved. eighteen pt ....................................................................................................................... femmina is characterised by moderate x–height and extenders, similar in proportions to avenir by adrian frutiger. despite performing well at text sizes, femmina’s narrow body and distinctive ...................................................................................................................................
.................................................................................................................................................... femmina is characterised by moderate x–height and extenders
femmina is characterised by moderate x–height
femmina is characterised by moder
femmina is characterised
femmina is characteris
femmina is cha
femmina is ch
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ten, fourteen, twenty, twentyeight, thirtyfour, fortyeight, and sixty pt ....................................................................................................................................................
and
rate x–height
d by moderate
ised by moderate
aracterised by
haracterised
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when used as heading or for emphasis, femmina can be combined with both serif and sans serif typefaces.
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complements the neo-humanist qualities of femmina complement other humanist sans typefaces such as calibri.
confers modernity its fierce yet feminine traits confer modernity and edginess to humanist serif typefaces such as minion pro or garamond.
adds character the similar proportions between avenir and femmina make these typefaces an interesting combination of neutrality and character.
and a woman’s touch the elongated nature of femmina complements futura proportions, while its humanist qualities bring femininity to the type pair.
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a b c d e f gh i j k l mn o p q r s t u v wx y z . , : ; – ...................................................................................................................................
“the master’s tools will never dismantle the master’s house” audre lorde