James Edmondson – Counterspace Equals Letterspace, Toasters, and Vectorizing Type – Ep40

James is an author, type designer, and the founder of OHno Type Company, a digital type foundry based in San Jose, California. You might license some of his wildly imaginative fonts, including Beastly, Ohno Fatface, Degular, Polymath, Regrets, Obviously, and Hobeaux. Before he got his start in the bowels of graphic design, James studied design at California College of the Arts. Then he learned how to cast typographic spells while attending the Hogwarts of type design, AKA Type Media at the Royal Academy of the Arts in The Hague, Netherlands. James is also an educator and a podcaster—check out his podcast, Ohno Radio—and swears that Canson marker paper is holy in the world of sketching. If you geek out over naming, you'll be excited to learn that James almost named his foundry "The Spaghetti Factory" or "The American International Type Company." I don't know how to make those options make sense, but hey, man, back OFF, Life's a Thrill, and Fonts Are Chill.Tune in for a talk about James's number one rule of letterspacing, his father's love for toasters, and the dominance of low-contrast sans-serif typefaces. Follow James on Instagram @ohnotypeco, purchase his fonts on his website ohnotype.co, or add them on Adobe Fonts, and read this blog post if you want to get started in type design. THEN, read his book, The Ohno Book: A Serious Guide to Irreverent Type Design, to level up even more.Questions for this interview.Why do you design a specific set of characters before others, and how does that make you more efficient as a type designer?Can you explain the “Counterspace Equals Letterspace Technique,” also known as your “Rule #1 of Spacing?”Another technique is something you call “Three at a time.” Why three, and what do you mean by that?Which of these do you think is less important? Spacing or drawing good vectors?Why shouldn’t someone digitize their letterform sketches in Adobe Illustrator, and what makes applications like RoboFont and Glyphs so much better?Can you tell us what you learned from Jesse Ragan and his process for vectorizing a typeface called Showcard Stunt?Your father was an English teacher for 40 years. What did he say he should have been instead?Do you think you’re following your passion in the way your father didn’t follow his?What you do as a type designer is very specialized. Have you ever felt like you backed yourself into a corner or regretted not becoming a more well-rounded designer?Selling fonts on your website generates around 50% of Ohno's revenue, and Adobe Fonts accounts for another 40%. Is this still accurate? Can you explain how Adobe tracks sales and how that works?Why wouldn’t a type foundry choose to distribute with Adobe Fonts?How do you decide which ideas to pursue and actually turn into digital fonts?You recently released a book called The Ohno Book: A Serious Guide to Irreverent Type Design. Who’s it for? What’s inside it? What are we gonna learn by reading it? ---If you LIKE what you hear, please subscribe and keep listening. Sharing this episode with someone is the best way to support the podcast. If you LOVE what you hear and want to help me keep the interviews coming—consider buying me a coffee on Ko-Fi.Also, I'm always looking for questions from listeners. If there's a burning question you want to hear answered on the podcast, please email it to me at [email protected] @studentsofdesignpod on Instagram for updates, episode drops, and behind-the-scenes content.The music you hear on the podcast is Accident by Timothy Infinite and PUSH !T by Nbhd Nick.studentsofdesign.simplecast.com