Or Type is an Icelandic type foundry established in 2013 by Guðmundur Úlfarsson & Mads Freund Brunse.
This past summer, a number of us here in the Design Department first encountered Or Type’s website (developed by Owen Hoskins). In addition to the fresh selection of typefaces, we were impressed by the interactivity of Or Type’s live, editable font testing fields that cleverly retain the words and characters typed-in by previous (or current) visitors to the website. As a cheeky disclaimer on the website pronounces: “ON AIR—Everything you type is recorded and instantaneously sent out on the wire.”
Other type foundries certainly make use of this type of live/editable font testing feature in varying degrees, but certain subtle moments set the experience of interacting with Or Type’s website a part from others. For example: Try typing in your favorite 4-letter curse word in one of the font testing fields and hit your Enter/Return key, or hit the Rewind icon in the bottom-right corner of the page to witness a sort of sped-up recording which plays in reverse while displaying the characters and words that visitors have typed-in, or click the Or Type logo in the bottom-left corner on the page to reveal so-called poems of the strung-together words that have been typed-in by visitors. This collection of tested words was even used by Or Type to auto-generate several volumes of books (doubling as Or Type’s printed type specimens) that are available through Lulu.
Guðmundur and Mads have created a bold and diverse collection of typefaces that have been making some notable appearances in the past year: from being used on the cover of international photography magazine, Foam, to the cover of the London-based music magazine The Wire, to the typographic identity for the 2015 Sundance Film Festival.
Ryan Gerald Nelson (RGN): Do you have an ultimate goal in terms of where you hope to see one of your typefaces in use someday? (Being used by a major car brand? By a sports team? In a film title? Other?)
Or Type: We’ve always wanted to make a typeface for football (guess it’s soccer for you) jerseys and last year that dream came true! We made it to the back of the Icelandic national team jerseys. They then went on to make into the finals of the Euro 2016. In actuality, that project was a bit of a mess though. In the end, they had mixed up weights and styles and it all looked kind of odd. So we’re hoping to be able to fix it before the next Euros, but we haven’t heard from them yet, which is worrying.
RGN: When it comes to creating a typeface, it seems that there are now more alternatives to the traditional font-making program of choice: FontLab. If you use FontLab, what convinces you to stay with FontLab? If not, what is your font-making program of choice?
Or Type: Our program of choice is Glyphs by Georg Seifert. To be honest, FontLab kind of ran out of time. It was getting really outdated and Glyphs just stepped in and convinced us to come on board. I think that even was the reason why Georg started making Glyphs: he just got sick of the old FontLab. Since then, FontLab has made a major update and is looking quite slick to be honest, but we’re really happy with working in Glyphs now.
RGN: Which character do you find the most difficult to draw/create? Give us an analogy to help us understand what drawing this character is like.
RGN: Have you ever discovered one of your typefaces being used in a really unexpected place or project?
Or Type: We noticed that a cruise ship company recently bought one of our typefaces. Seeing our typeface on a cruise ship would certainly be unexpected.
RGN: Did you both formally study type design? Or are you guys self-taught?
Or Type: We had some courses when we were at school, but we haven’t gone to study type design specifically.
RGN: Your guys’ homepage is quite unique in that it displays a number of font testing areas that record the words and characters that are typed-in by previous visitors of the site. These words and characters are retained and displayed until a new visitor comes along and replaces what’s displayed. That said, what’s the most bizarre thing that you guys have seen typed-in and left behind by a visitor?
Or Type: We see a lot of things—all kinds of things really. We get love and hate letters through there, intern requests, and all kinds of stuff. The other day we noticed that someone wrote “Will you marry me?”, but we’ve yet to hear if that was a real proposal or not.
RGN: Of your offerings, which typeface is your most popular amongst your customers? And do you have any theory as to why this is your most popular typeface?
RGN: Of all the times you’ve seen your typeface in use, has there ever been an instance in which you’ve been appalled by how the designer used your typeface?
Or Type: I guess we have a very specific way of using our typefaces, so often when you see people working in a different way it can be strange to see your own typefaces in that context. Having said that, sometimes it feels as though we designed the projects that make use of our typefaces, probably because of the nuanced characteristics of our letters. So never really appalled, no, not yet.
RGN: In your opinion, are there too many typefaces in existence? Or not enough? Are those questions relevant to you as you begin creating a typeface?
Or Type: You could say that, but the same goes for everything: too many records, too many cars, etc. At least we’re not polluting the earth by making more. Having said that, it’s relevant for us to design a typeface that doesn’t already exist. This is an important part of our practise—to create something fresh and original.
RGN: When you describe your work/profession to family and friends who are not acquainted with typography and type design, what do you say?
RGN: Matthew Carter rocks an iconic ponytail—what are your feelings on this subject? And do either of you aspire to sport an iconic look of your own?
RGN: What’s more of a consideration for you when designing a typeface: screen or print? Or are these contexts irrelevant?
Or Type: It’s been mostly print up until recently, but making fonts ready for both web and screen is definitely a part of the next step of development for Or Type. Given the speed at which these technologies are developing, we’ve never consciously been too geeky about making our fonts for a certain resolution—it will soon all be HD screens anyway.