Winslow Book: An Interview

Winslow Book was designed to be a perfect typeface for text and display purposes. With 12 styles in the family, the user has options to get the job done. Delicate features give it a playful feel while keeping Scotch Modern attributes of vertical stress, bracket serifs and ball terminals, while unique features give it a personality of its own. We talked with Kimmy to learn more.

What inspired you to design this typeface? Were you designing for a specific use case or customer? Or were you more focused on a particular artistic vision? Or some combination of the both?

I started Winslow during college. I’ve always loved childrens’ books and how type interacts with illustration, so I decided to create something to be used in shorter text settings, such as children’s books, artist publications and magazines. Hours at bookstores helped me find a design foundation: Scotch Roman and Didone style types. I found their high contrast, vertical stress and thin serifs refreshing alongside imagery and illustrations. Extensive research in type specimen books helped me narrow down specific characteristics: a delicate balance between a design that was elegant and refined, yet also playful and whimsical.

Walk us through the process of designing this typeface. Was there anything different about it, compared to your usual process? Did it come along more easily than others, or were there unique challenges?

Winslow Book was my first foray into designing a text typeface. Display typefaces are designed to be noticed, while text typefaces are drawn to deliver a message without standing out. They require completely different design approaches. When I started sketching, I focused on the details that would give Winslow Book a unique character while keeping within my design goal. I wanted the underlying structure to look as though I had created it using a marker. To achieve this effect, I rounded corners, created serifs that swelled at the edges and applied ball terminals of the s and c. I decided to depart from the traditional Didone italic styling and make something a little more contemporary. I wanted it stand out, but not feel out of place, while keeping the overall style and proportions of the roman. Testing is an important aspect of designing type for me — it’s also the most fun part.

Looking ahead, are there new projects you’re excited about? Anything you haven’t tried yet but are eager to explore?

I’m currently working on other Winslow styles. I plan to release a display version with higher contrast, swashes, ligatures and other fun features. A monoline version is also in the works. After I complete the Winslow family, I will be developing some revival style typefaces based on 19th century artistic printing style designs. There is a lot of work ahead, but they are also really exciting projects!