I have a confession to make. I’ve never designed a font. I’m wrangling with Fontographer now for the first time ever. Not a terribly complicated program, but I keep wanting to go back to Illustrator. And as I go back to Illustrator, I keep wanting to go back to paper, pencil and protractor. It’s not a goal to have the letterforms for Pine Boy in a font for its completion, but it would be darn nice to get the experience in. I think that one will have to go on the back burner while I complete logos for last month’s brand and this month’s brand.
Either way, I’ve made progress on Pine Boy and am eager to get these letterforms complete so I can start toying with them, as it were. Clearly, I’ve decided to go the route of the crafted letterforms, for several reasons: 1/ they are versatile, able to dwell at the top of a page in a “Pine Boy Presents…” manner, or at the bottom of a page in a “Brought to you by Pine Boy.” 2/ The silhouette of the letters, along with the graphic elements of strings and rods make these letters characters themselves. I can’t think of a better way to represent a host of characters on stage then represent them as individual typographic forms.
The Letter People anyone?
Anyway, 3/ it offers an opportunity to reference Pinocchio without really illustrating him. Why would I want to do this? Because suggestive offers more opportunity; remember that Pine Boy isn’t just a theater for kids. The poché of the letterforms bring out a carnivalesque characteristic, like lollipops and hand-crafted Ring Toss signage, or like a playground of Miró creatures, or like the rampant bullies that beleaguer our hopeful wooden boy. Now, is it sexually suggestive or lewd? Maybe. Can a logo be raunchy for adults and cartoonish for children? I feel like Disney’s been doing that a lot longer than me, so I’m making the call to go forward with the “lying E” (nose in full erect position). Crafting the forms to work perfectly together is the most time-consuming however, so this is an update on process more than anything.