Alisa Burzic
A designer inspired by modern architecture to create her letterforms
How did modern architecture influence your interest in designing letterforms?
My interest began mainly through a specific form of aesthetic that emerged from the fusion of functionality and minimalism. Devoid of the ornamentation typically associated with objects influenced by the modernist style.
Coincidentally, my interest in letter design intensified when I moved to Belgrade. Many buildings in this city were constructed in the interwar and late modernist styles, with the latter being applied extensively in that area.
Does all your work show an impression of modern architecture?
Much of my work does not. Quite a few works reflect modern architecture. Those letters’ construction could be classified into some of the historical categories of typefaces. The letters I usually design have a retro vibe in their shape. Still, these letters mostly evoke modern or brutalist architecture due to the sculptural treatment, robust volume, and texture often applied to make a stronger impression on the observer. I can say that my work does not exclusively reference modernism, but the principles of its style are indeed very present in my creative thinking.
Which is the most unusual shape that has inspired you to create a letter or a number?
Plenty of things catch my attention, and noticing shapes in negative space formed between two or more objects placed nearby is one of my unusual observations these days. This moment is not creative because it doesn’t involve effort or action. Still, it is an integral part of creativity from which the creative process may, perhaps not always but in most cases, begin to develop. We can use the entire shape or its features formed in the negative space can be used to design a letter.
What is designing letterforms for you?
Designing letterforms is the opportunity to simultaneously be free to do everything I imagine and be in the flow. Of course, creating a letter or lettering is not always that great or pleasant, but it is a chance for me to generally feel good about what I’m doing. It is also an opportunity to create something new and for the result to be something I didn’t think I could achieve, which provides me with another level of excitement. Because of this, I feel privileged because freedom is a luxury for most working people and something they long for or have lost.
What is the most challenging part of designing letterforms?
To balance the feeling of needing more knowledge to reach higher standards, I expect from myself with the wish to design and finish the letterform. If there’s a final version of the letterform, it is usually preceded by a large number of changes and variants.
What do you enjoy creating the most, the letters or the numbers?
I enjoy creating letters more than numbers.
Do you ever walk around the street, stop to notice a font and wonder which typeface family it comes from? Being a designer, it’s challenging not to observe things and wonder about their origin.
Yes, that’s right. I have a folder of photos on my computer taken during such walks, capturing logos and inscriptions. Usually, an older inscription or logo from the Socialist Yugoslavia era catches my attention, many of which are in Belgrade. At that point, I would research something about the company’s history and, if possible, about the design and its creator.
Which is your favourite number and letter that you find interesting to redesign?
I love designing letters whose shapes are composed of vertical, horizontal, diagonal, or curved strokes, like the small double-story letter ‘a’ or ‘g,’ the capital letter ‘R,’ small and capital ‘K’ and ‘Y,’ or small ‘f’ and ‘t.’ Essentially, letters whose shapes involve diverse strokes are ultimately inspiring to me. Additionally, every client order that includes some of these letters always delights me because it’s an opportunity for the project to be more enjoyable or successful in terms of its execution efficiency.
Do you enjoy designing these letterforms by hand on a sheet of paper on a computer with various tools?
I enjoy both scenarios; my preferred tools depend on the stage in the letter design process. Sometimes, my initial approach is to create a letter or inscription on paper to jot down an idea and then execute it on the computer in software to add volume to the letter. However, in most cases, this process starts directly on the computer. Occasionally, I find it faster to sketch some ideas on paper with a pencil, and at other times, it’s easier to do it in software, so it also depends on the design itself.
Do you think there’s a correct or perfect interpretation of any typeface, or are all the designs right in their way?
There are many variables involved in type design. Typefaces are designed for specific intentions and purposes, which can vary widely. However, using typefaces in practice often goes beyond the initial goal. Some typefaces are designed for good readability and are intended for use in books, while others are tailored for websites. Those with more pronounced aesthetics are often designed for display purposes.
Additionally, the appreciation of typefaces is subjective. Some may appreciate organic typefaces influenced by natural handwriting more than those whose letterforms are based on simple geometric shapes. It’s not uncommon for designers to use typefaces with historical features to create contemporary artwork. There is no ‘correct’ or ‘perfect’ interpretation of typefaces.
Have you created or want to make a typeface family one day?
So far, I have created a complete set of letters, numbers, and basic symbols for several display fonts in one weight, but only the latest one, which is still being developed, is planned for release and use. There is a possibility for it to be expanded into a few more weights, and I would like to do that.
What would you have chosen to become if not a typeface designer?
A full-time volunteer who engages in direct action to assist others and improve life within a community.
