In Progress: See Inside a Lettering Artist’s Sketchbook and Process, from Pencil to Vector

298 Pages·2015·40.65 MB·English

by  Jessica Hische

Copyright © 2015 by JESSICA HISCHE.
Preface text copyright © 2015 by LOUISE FILI.
All rights reserved. No part of this book may be reproduced in any form without written
permission from the publisher.
ISBN: 978-1-4521-4668-3 (epub, mobi)
Library of Congress Cataloging-in-Publication Data available.
ISBN: 978-1-4521-3622-6 (hc) Chronicle Books LLC
680 Second Street
San Francisco, CA 94107
www.chroniclebooks.com
o all the teachers who helped mold my
overly enthusiastic, pathologically
optimistic younger self into someone
able and excited to pass on knowledge
to those who will follow my path. I am forever in
your debt.
Preface
Introduction
The Typographic Arts: Lettering, Calligraphy & Type Design
The Process
Creating Lettering: From Blank Page to Finished Art
The Tools: Analog
The Tools: Digital
Software and Services
Research & Brainstorming
Thumbnails
Sketching
The Skeleton
The Body
The Clothes
Vector Drawing
Draw, Rinse, Repeat
Proper Point Placement
Plotting Points on Curved Forms
Other Vector Lettering Tips
The Work
Process in Action: Differing Steps for Different Projects
Editorial
Books
Advertising
Logos
Miscellaneous
Acknowledgments
Index
About the Author
by Louise Fili
remember the day well. In 2006, I received
a series of promotional cards for “The
Twelve Days of Christmas.”
The interesting style of illustration led me to take a look at
the artist’s website: hmm, nice lettering skills there, too. Who was this
person? All I could discern was that she was a recent art school graduate
living in Philadelphia. I sent an email asking to see her portfolio. No
response. Undaunted, I contacted her former professors at Tyler. This
time I got an immediate answer: My first email had landed in her spam
folder, and she could come to New York the following month.
In a month, did you say? So I waited. When that momentous day
arrived, I greeted Jessica Hische at the door of my studio. She was
carrying a portfolio that easily weighed more than she; I couldn’t help
but notice that the shiny wrapping paper was a Hefty trash bag.
Before I even finished looking at her work, I offered her a job.
Two weeks later, she moved to New York and started working for me.
At the time, I was designing the cover for a book about Paris patisseries.
Jessica, can you make this look like a grossgrain ribbon tied in a bow,
with type on it?
with type on it?
Sure!
Next, a guidebook to shopping in Morocco: How about embroidering
the type, with sequins?
No problem!
Can you make type look like this lace?
By then, I didn’t even have to wait for an answer. I actually didn’t even
need to ask the question.
She was fearless. Two months after meeting Jessica, I promoted her to
senior designer, and her boundless energy and abilities continued to
amaze me. They still do. It has been a pleasure to watch Jessica bring her
talents to a much larger stage (which is to say, the world) for all to see
and enjoy.
Four of the book covers I worked on with Louise for her client The Little Bookroom. Below them
is lacey typographic art we created for the New York Times.