Typography as a Metaphor for Glass
We’ve done a lot of graphic projects in the past, but I’ve only started really studying how typography, fonts, and letters are designed. According to graphic designer, educator, writer, and artist Ellen Lupton, “typography is what language looks like.” It’s the font’s you use to type your email, read blogs like this, and every written word. Every letter, punctuation mark, and all the little spaces in between every glyph of this typeface, Mr. Eaves by Zuzana Licko, had to be designed by someone somewhere.
Just like typefaces, glassware needs to be designed in families: sets of different vessels that need to look like they belong together. Letters also need to function: An “a” needs to look like an “a” otherwise nobody would be able to read the alphabet. Wine glasses need to serve wine and a beer stein’s need to hold a pint. Their shapes can’t vary too much, but within the limits of functionality, they can express a lot of different personalities.
Tobias Frere-Jones of the eponymous type foundary Frere-Jones Type, and designer of letters for the Wall Street Journal, Esquire, GQ, The New York Times Magazine, and Gotham, the typeface of the Obama Campaign, has said that fonts can be like an southern accent or a suit. It gives words a certain flavor that tells you a lot about them before you even read the message.
In glassware, a pint glass might feel a bit more like a BOLD ALL CAPS compared to a Reidel wine glass that feels more like Didot.
These undertones work almost invisibly, and the infinite reasons why the shape of the Reidel says “fancy” and the stein says rowdy tend to fade into the background of daily life.
- Families and Groups
- Relative Scale
- Historical Reference
These are just some of the tools that a type designer might use to tune the flavor of an alphabet, and we can borrow from them and find their analogs glass to refine the way we design families of vessels too.
Christopher Yamane is an industrial designer and Co-Founder of Super Duper Studio