Presenting Fitriyawan Runsell. Creating fonts is a bit like being an architect drawing a house... [MyFonts.com]( [View in Browser]( Inside the Studio:
Creative Characters Presenting Fitriyawan Runsell â Runsell Type [Hot New Fonts]( [Best Sellers]( [What's New]( [Special Offers]( [Bundles]( [WhatTheFont]( [Runsell Type]( Type and graphic designer Fitriyawan Runsell, founder of Runsell Studios, launched his Magelang City, Indonesia-based business in 2016, when he was just 24. Since then, heâs created 300+ fonts in multiple languages, ranging from Arabic to English. Recently, his foundry expanded by introducing Logofonts, a new division producing brand logos for small-to-mid-sized companies. In an email interview with Monotype, Runsell reflected on his businessâ accomplishments and growth. Our conversation has been condensed for space and clarity. [Fitriyawan Runsell Image1]( “Creating fonts is a bit like being an architect drawing a house. Both require a sharp eye for detail, proportions, and visual harmony.” â Runsell MyFonts (MF): Not every foundry creates fonts in multiple languages; yours does. You began by designing in Arabic and now design in English. Can you talk about that change, and what spurred it? Fitriyawan Runsell (FR): Runsell Studio works on all types of display fonts, including whatâs actually an English-language font using Arabic style. We switched to designing in English, because I saw the international market needs English more. We started by creating one brand only for English and focused on the best way to create a logotype. Supporting the brand is our Boldye font. Itâs achieved a lot in sales, in a really short time, and it shows stability in all seasons, unlike the Arabic-style font, which has good sales only in certain seasons. To further expand our market, we also made Logofonts accessible to all users. That concept is reflected in our tagline: "Easily create your own logo type," meaning: any customer can create a logo from our fonts, without having design skills. MF: What kind of challenges did you face in shifting your font language? FR: Where thereâs greater opportunity, thereâs also greater competition. Many foundries design English-language fonts, making it harder for us to stand out. If we create Arabic fonts, we can focus on making the style more unique. But if we shift to English, we need to think more about how to make a font with lots of features that can fulfill user needs. MF: What are the technical challenges of shifting not only from one language to another, but from one completely different alphabet â or set of design characters, with distinctive shapes â to another? FR: Researching new letterforms is our biggest challenge, certainly. But weâre accustomed to making many types of display fonts, with several styles of migration/adaptation. Being in the initial launch phase of our brand, however, weâre still improving things to provide good-quality products for customers. MF: How do you define good quality? FR: Here, itâs a font with a good design concept (meaning: aesthetics, readability, and balanced functionality), a consistent letterform, and also proper spacing and kerning between letters and words. One of the hurdles in moving between languages and alphabets is that comprehensive testing is crucial to identify and address crossover issues. That can be a time-and-resource-intensive process. MF: Can you tell me the story of your development as a typeface designer? FR: Initially, I was a computer teacher. But I wanted to explore and switch my career, to grow. So I learned to make letters on my own, with some help from friends, books and Web sources. One year after launching Runsell Studio, I was joined there by my partner, Satia Hayu, whoâs great with his lettering. [Fitriyawan Runsell - Image 2]( [Continue Reading]( Monotype Imaging Inc.
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