The visual language of love and romance is more perfectly captured in script letterform than any other type style. It’s been so for hundreds of years and there’s a good reason for it. There is a sensuousness in the sweeping curves and rhythmical ellipses that scripts offer. My good friend, the late Doyald Young, appropriately referred to them as “Dangerous Curves”. The right kind of curves on an automobile, a flower, architecture not to mention the human body, can drive you nuts.
Kristin Parson grew up in a family of nationally renowned artists. when she asked me to design a logo for her wedding announcement/invitations she already knew what she wanted in terms of style. I determined it should be fitted neatly in a rectangular space
I began with much looser, smaller ideas that evolved into a more pinned down version that you see here. This pencil sketch was actually the third rendering. This was then scanned and redrawn in Adobe Illustrator. The CS5 and CS6 versions of Illustrator have a variable width tool for stroked paths that I haven’t found agreeable for the precision I like for this kind of typography. That feature seems to be more at home with brushy, more organic free form lettering styles.
I prefer to draw my flourishes with stroked paths at first. The tricky part is getting them to transition seamlessly into the weighted parts of the letter. Once this is accomplished to my satisfaction I will outline the strokes and combine the paths and save as a different file so I can always go back to the more edit friendly stroked path version.
Plates were made by Boxcar Press and were printed Letterpress. The logo was printed in gold ink on a Black cover stock and cut into long bands that were then wrapped around the invitation panel to contain enclosure cards and a photo of the Bride and Groom.