December 22, 2022

How To Plan For A Kick-Ass Year

I bet you are planning for 2023 and thinking of all the things you want to accomplish. In this post, I’ll share with you my personal success system to do just that.

I used to plan my years doing like everyone else does: writing down the things I wanted to accomplish in my life and business.

Because of that, I had trouble hitting my goals as I felt that every new year added more overwhelm. I had way too many things on my plate.

Does this sound familiar to you?

I don't use that system anymore. Thanks to that, my business has continued to grow steadily throughout the past years.

This is how my system works:

#1 Reflect.

Look back at the things you accomplished this year that brought you joy and results.

These are some of the questions that can get you started:

- what were my favorite experiences?

- what felt easy?

- what felt hard?

- what did you love creating and working on?

- what do you never want to do again?

- what brought in the most revenue?

This will give you a lot of information about what works financially and what makes you happy.

I often say to students at The Lettering Seminar that "the solutions to your drawing are in your drawing". Observing and being critical of your work can be a powerful tool.

​Likewise, observing and being critical of what happens in your life and business can be powerful. After all, you want to strive for as many happy moments as possible!

​#2 Identify the big players

​Once you answer those questions and put a finger on what works, you move on to applying the 80/20 rule.

And you may wonder what the hell is that rule, Martina? 

​The 80/20 principle, also known as the Pareto Principle, is an aphorism that asserts that 80% of the results are driven by 20% of the efforts.

This rule applies to your creative work and your business, too!

Identifying what that powerful 20% exactly is and doubling down on that is what will help you thrive without burning out or spreading thin.

What are the things that are bringing the best results for you? How can you do more of it?

​#3 Simplify.

Eliminating complexity is the third part of this process. How can you let go of the things that don't serve you anymore?

Letting go is freakin' tough. Especially after investing a fair amount of time (and perhaps money) in something.

But holding on to it will keep you away from using that time and energy on the things that really matter and have an impact on your results.

Lastly, look at your notes, what are you left with? Do these goals light you up? There you are, you got it!

Now is the time to wrap up your sleeves, and draft a plan that will help you accomplish them.

In this podcast episode, I walk you through this system so that you can start planning for a kick-ass 2023 today.
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Click here to hear me guide you step-by-step.

Would love to hear back from you with some of the things that you have lined up for next year.

On my side, I know that nurturing my community of lettering artists and finding new ways to connect with you is my main goal for next year.

October 5, 2021

The honest truth about lettering.

It's time for me to be completely honest with you: letters alone cannot do it all. 

Lettering is all about storytelling. By drawing your letters in a certain style or with a certain shape you can evoke memories in the reader's mind and trigger feelings. This is the superpower of what we do!

But the truth is that commonly you need more than *just letters* to achieve that. Let me tell you why. 

I usually like to illustrate the power of storytelling with lettering by using book covers. With just one image, a book cover sums up a story and speaks to its readers. 

Look how different these stories are just by looking at their covers:

Book covers by Martina Flor

The shape of the letters plays a big role in telling these stories and connecting with the target reader, but without the decorative elements, frames and flourishes the piece would fall apart. Letters alone are just not making it. 

It took me years to realize how much decorative elements could support my work and help me not only create better compositions but also tell stories that would truly fascinate the reader and be memorable.

My learning curve was slow and shaky. I used to be afraid of messing it all up, so I'd add one decorative element or a flourish here and there. I played it safe.

Furthermore, I was spending ridiculous amounts of time in the process!

Throughout time (and tons of trial and error tbh), I developed systems and techniques to add decoration and flourishing to my designs in a way that allows me to add a whole new level of finishing in a time-efficient manner. 

Now, why would you need to learn how to add decoration and flourishing to your designs? 

  • they allow you to solve composition problems. Aleluya!
  • ​they can help you add an exquisite level of detail to your designs.
  • they can create that sense of wonder around your lettering.
  • they reinforce your storytelling.
  • they add a whole new level of finishing to the piece.
  • they allow you to create a personal mark that goes beyond the shape of the letters.​
    ​​

There's a reason why many professional artists dedicate time to incorporate decorative elements into their designs. 

Because I know that many lettering artists struggle with this, I created a training called Stunning Lettering. Click here to read more details.

In this intensive session I'll show you how to master the art of flourishing, decorate your lettering from the inside out, and bring a sense of wonder to your designs that delight your clients & peers. I'm looking forward to seeing you there!

Click here to join the training.

June 24, 2021

Letter Now! Podcast

Say hello to Letter Now! a podcast where we nurture the hand-lettering masters of tomorrow, today. 

Now, this is not another interview podcast, but it is one where my guests and I will be there to answer your questions and speak about the topics that are currently occupying your mind. This is not about us, it’s about YOU.

I named this podcast Letter Now! because I knew that if I’d put that magic word in there, “letter”, I was going to bring in all of you letter lovers and typography aficionados. But here’s my honest disclosure: this podcast won’t be about typography and letterforms. At least not exclusively.

It will be about something a lot more profound. I believe that your craft or whatever you love doing is a portal to discover more about yourself, and this is what this space will be all about. 

Go check out the first episode where I present the podcast. I’ll be releasing episodes every week (@stefankunz@belindaskou , @ivancastrolettering, @pandrdesignco, and more are lined up!). 

You can listen to this podcast on Apple Podcasts, Spotify,  Google Podcasts, YouTube or your favorite podcast platform. I hope you’ll join me!

Visit the podcast page to send us a message!

November 4, 2020

Designing Rare Script

Excited to finally be able to share this project with you. Say hello to Rare Script, a handwritten custom typeface created for Rare Beauty, the new cosmetic brand by Selena Gomez.

We were commissioned by Established NY to develop a spontaneous, fresh-looking handwritten typeface. The design embraced the imperfections of handwriting and aligned with the vision of the brand: celebrating the imperfect beauty in people (loved that concept!).

Funny fact, this is how my handwriting looks when I try to make it look tidy and relaxed 😁 What do you think about it?

On top of this, almost accidentally we spotted a little tattoo under Selena's ear written with the typeface that we have designed!

August 28, 2020

How I decided to turn a lettering piece into a font.

Creating Decorata Typeface was perhaps one of the most rewarding things I’ve done so far. Decorata was inspired by one of my lettering pieces. One of the great things about lettering is that it’s unique and created for an specific use. One of the downsides of it, is that those shapes will no longer be used! 

I remember creating that lettering for a postcard (it was a client assignment). It was new, and I liked it, I hand’t done anything like this before! However it was used in that ONE postcard that was sold in a few retail stores in Berlin.

Years later, I decided to make better use of those shapes, and started working on the typeface. I expanded the words into an alphabet and started working on each one of the layers. A time later, Decorata was born. Writing the first words with your font is a feeling that is hard to transmit. It’s just pretty awesome.

Nowadays I use Decorata for client projects, but also, other designers are able to use it as well. So, cheers for that.

Thank you Neil from Positype forever, for helping me bring this project to life.

August 24, 2020

Lettering Crit—Display Type Special.

The Lettering Crit - Display Type Special was so much fun and there are so many takeaways to share with you. Everyone was truly engaged with giving feedback to the projects, and I'm sure that the authors of the selected projects Derek Munn, Prateek Bisht, Jamie Otelsberg, and Ana Michel got tons of information to continue working on their projects. If you missed it, here's a replay.

Here are the main takeaways of this session:

1. Finding inspiration in vernacular typography: old signs, old specimen books and graphic material can be a great starting point for a unique typeface (although not the only one). Beware, you'll probably have to redesign/reshape many letterforms to make them suitable to a contemporary eye. That's when your unique perspective plays an important role!

Derek's project is a good example of using and repurposing vernacular typography for a modern typeface.

2. Use your calligraphy: calligraphy as the mother of all letterforms can help you easily stick to a style and achieve consistency within your alphabet. Why? Because the letters will be all essentially "written" by the same hand. 

Jamie's project translates her calligraphy into an alphabet, and through that process she keeps consistency all along.

3. Expand your alphabet: find the mother shapes and use them to inform the shape of other letters. Your mother shapes are those that look like a rectangle, a circle or a triangle. For instance, your "O" is the mother shape for your C, Q, and gives you tons of information to draw your D or P. Can you see why? Of course! All these letters share a rounded shape.

4. Consistency: make a couple of strong decisions and try to apply them consistently in all letter shapes. That decision could be making your letters high contrast, or inverting the contrast completely or using bananas to build your letterforms. Everything is possible as long as it's possible on all letters.

Ana's project stands through using one strong decision that applies to all letters. In this case, she's using inverted contrast for all shapes.

5. Design words: move onto setting words with your letters sooner than later. Remember that designing letters is not about the isolated shape itself, but about how well that interacts with all the rest.

6. Mind the gap (spacing): designing letters is not only about the substance (the black part) but also about the space around them. Remember the rule of thumb for finding your ideal spacing—the space within the letters should be similar to the space between the letters.

Prateek's project displays consistency through a consistent slant, contrast, and weight. Also, the spacing is considered as part of the design.

Give it up for Anna, Prateek, Jamie and Derek for their great work! 👏🏻👏🏻👏🏻👏🏻👏🏻 I'll be delivering more tips to create typefaces in the next few weeks, and on September 4 I'll be opening registration for Letter&Co. my latest course about display type design. Cannot wait! 

July 17, 2020

Lettering Crit. Take Aways.

The first Lettering Crit session was just over-the-top amazing. I enjoyed it so much that I just want to do this exclusively from now on! Just kidding #notkidding. If you missed it, here's a replay.

​This was a collective work. In the session, it was not only me giving comments and feedback on the work, but all attendees participated (that chat was on fire!). I have to say that it wasn't easy to select among hundreds of submissions and so many great pieces of work, but finally, the projects of Ailen Kenny, Caroline Esteves, Darshita Agarwal, Jenn Rothschild, Irene Clua, and Jenny Mercer were selected. They were the lucky ones to receive valuable feedback for their next iterations.

These are some of the main take-aways of the session, good lettering tips: 

1. Composition hints: To get your composition right use the North (N), South (S), West (W), East (E) principle. So if the north of your composition is very busy (with swashes or flourishes), find ways to compensate that in the south portion of your composition.

Beautiful script lettering by Ailen Kenny. We suggested a change of shape for letter e.

2. Decorative elements to the rescue: if you happen to have negative spaces (white spaces) within your composition, decorative elements may come handy. Use lines, swirls and flourishes to "cover" those up.

Extreme contrast for Caroline Esteves's work. Perhaps adding some decorative elements to cover up negative space?

3. Watch out with your S: Raise your hand if you ever struggled with an S. Well, I have! 🙋🏻‍♀️ When drawing an S, focus on the space around rather than in the shape itself. If there's too much space on any of the sides, you might need to adjust the slant or shape of that S.

Helping Darshita Agarwal with that S.

4. Use capital letters and design them all together: if possible, use as many capital letters as possible. Capital letters are normally more expressive and wild, and they will add tons of flavor to your piece. Also, when having multiple on your composition, design them all together, so that they share the same features and have the same complexity. 

Solid work by Jenn Rotschild. We suggested some flare for her capital letter A.

5. Confirm that is readable: especially when working on flourished compositions, there's the risk of compromising readability. Double-check with other readers if necessary. 

Irene Clua with a beautiful executed piece. It was mentioned that one of the flourishes mike read like a capital E.

6. Solve most of the problems in your sketch: before moving on to the digital drawing, solve all of the problems in your hand sketch. This will make digitization much easier!.

Jenny Mercer solved most of the problems in the hand sketch and continued improving her shapes as she moved on to the digital drawing.

I'll be hosting more sessions in the future, keep your eyes peeled! Have a great weekend. 

Martina.

July 17, 2020

Introducing FREE Lettering Crits

I'm uber-excited to introduce my first Lettering Crit, a new FREE live feedback session for lettering makers.

The Lettering Crit (short term for "critique") is a live event to provide feedback to selected work. Previously there will be a call for submissions. This is how it works in a nutshell:

Sessions will occur on YouTube, and everyone can attend. The fun thing is that you won't know if your work was selected upfront, you'll have to join the YouTube session to find out! During that session, attendees and I will comment on the pieces (it could be yours!) and provide tips and tricks to take it to the next level. Along the way, I'll be sharing valuable insights on lettering and letter design as well.

One important thing: these sessions are not made to crash anyone's work but to highlight the great bits and give feedback. One of the goals behind it is to discover new talent, that's why I'll be featuring the authors here in my newsletter and on my social networks.

See The Lettering Crit here.

Why feedback is important.

Having feedback from teachers and mentors was essential for me to improve my work with letters. Without them, it would have been really hard to spot the flaws in my work and make it better. Sometimes you need someone to point out at stuff and make you see it.​
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As important as understanding your flaws is having reaffirmation on what you're doing right, isn't it? I've always appreciated teachers and colleagues that were not only able to critique me but also give me a pat on the back. I want to be able to provide that to other letter makers out there, and this is why I'm hosting this Lettering Crit.

What do you think, are you in? I'm looking forward to seeing your work! Click here to join for free and submit your work.

May 28, 2020

That one time a rough sketch saved my life.

Drawing letters is an incredibly slow-moving job. This is one of the first things I realized when I started working with lettering full time. Since I used to run a one-woman studio and wanted to make a living from it, I had to come up with a workflow that would allow me to do multiple projects while responding to the working rhythm of agencies and publishing houses (where projects are due yesterday).

I still remember the first time that I received a big commission of lettering, it was for the cover of New Statesman magazine in the UK. I was so excited! This was my first assignment with the potential to have tons of exposure—the magazine has a circulation of 35.000 copies in the UK— and for me to make a great piece for my portfolio. 

The art director sent the brief and the exact words to illustrate. I had everything I needed to get started, and so I did. I worked three days straight on this artwork:

By the time I showed the artwork to the art director, the deadline was just one day away. Thank god she liked it because I would not have made it to the deadline if she would have not liked it! 

From that point on, I started to rethink my work process. I said to myself that there must be a more effective, less time-consuming process to work on my designs and, at the same time, be able to test ideas with my clients.

Working with sketches.

This is when I started working with sketches. Working with quick sketches is convenient for both the lettering designer and the client, as it allows you to deliver a concept in a short time and confirm if you are both on the same page regarding the direction of the project. If not, it is easy to sketch some new ideas and discuss them with the client.

I once received a commission with a really fast turnaround. Although the deadline was extremely tight, I was interested in the job and decided to take on the commission. Once I got the briefing and cleared some doubts with the art director, I started sketching some ideas right away. A few hours later, I sent a first colored sketch to the client. It looked like this:

The art director got back to me right away: she loved the direction. However, there was a little problem: I had used the wrong text for the lettering! The text I needed to illustrate were actually those three words at the top of my drawing.

For being an artist that works exclusively with text, I had made a huge mistake! After taking a deep breath, I wrote back apologizing and two hours later I was able to deliver a new sketch using the right text. I got positive feedback and could move on to the digital drawing and finalize the work as quickly as possible. 

Almost no time was lost considering that, ahem, I had started the project with the completely wrong text! Bottom line: sketching saved that commission, the relationship with the client, and all the future potential commissions that may arise from it.

Sketches: way to go.

Working with sketches has two more benefits. Although you are establishing a lot of essential elements in your first sketch, many of the details will follow later in the process, which keeps the work interesting for you and thrilling for the client. Another benefit is that sketches enable the client to experience the working process; she or he can see the individual steps and influence them. 

Additionally, in the digital era, a working process that involves hand-drawn sketches is well appreciated and adds value to your work. Clients will perceive your work as a craft and not only as a job.

Developing a good sketching technique is something that is worthwhile investing time in, not only because it can create a more effective workflow, but also because it can help you achieve more unique results. 

I’ll be hosting a FREE masterclass next week. Stay tuned and sign up for my newsletter below to be notified. 

May 26, 2020

Tell better stories with your lettering.

I cannot help to find awkward when someone says that lettering is “the new thing” because it has been there for a long while. You just have to raise your head and look around you.

This is the storefront of a bakery in Paris. By looking at this sign I can almost picture the bread they make. I can picture the baker, using THE BEST ingredients, and working carefully on each bun, in a beautifully equipped kitchen. The baker surely puts a lot of attention into making that bread, just like the artisan that made this sign, who carefully painted every single stroke and serif of that lettering. By looking at the sign you just want to eat that bread, that has to taste delicious—and I can say, it did taste delicious. That is the power of lettering, to communicate much more than the literal meaning of the words.

Why lettering styles matter.

As letters embody the message you want to convey, their shape is essential for your storytelling. Do you want your lettering to look friendly? Cold? Should your lettering look official, or throw you back to a specific time in history? The text and its shape are counterparts of the message.

I remember that when I started creating lettering I was fascinated with brush letter shapes. All I wanted to draw was brush lettering, and so I did. I drew tons of brush lettering pieces and became pretty good at it. It didn;t take me long to realize that brush lettering was not always a good fit for the message. I felt stuck there, like missing the words to tell new stories.

Brush lettering by Martina Flor

I realized that in order to become a better lettering artist, I needed to be able to approach other styles confidently. Furthermore, this would make my work more interesting for me! The great thing about being able to approach several styles is that you can get to tell more powerful stories. Aditionally, it enables you to approach different kinds of briefs, which comes in handy when you are looking to work commercially as a lettering artist.

Approaching a new style is always challenging, simply because it lays outside of our comfort zone. Understanding the principles of the style, its origins, and foundations can provide you a very good starting point.

 

Approaching a new lettering style.

These are essentially the steps to approach a new lettering style:
1- Research to find our where its origins are. Pro tip: it usually derives from a calligraphic style.
2- Try to understand the logic behind it and the underlying rules.
3- Customise it and make it your own.

Let’s take for instance black letter—Oh yes, I know that you might be wondering “could you please start with an easier one?”. Well, let’s knock the most challenging one and get it over with!

Blackletter is an umbrella term for a group of calligraphic styles widely used throughout Europe between the twelfth and seventeenth centuries. It is executed with a broad nib and is defined by its angular and narrow ductus. In broad-nib calligraphy, the tool is moved downwards and sideways in order to draw the letter shapes. It is held at a constant angle so that the nib always points in the same direction. The unchanging angle is what makes the thick and thin strokes consistent.

The curves of the letter shapes are often “broken” through abrupt changes in direction. As a result, the script has a dark, heavy look, and its basic shapes—especially those of capital letters—often deviate from Latin letterforms. Understanding how this calligraphic style works is essential to create blackletter lettering.

Here’s an example of a recent assignment I made for American magazine 5280. The art director approached me to “create an illuminated manuscript inspired lettering”. I didn’t need to write the headline with a broad nib here but knowing the foundations of blackletters calligraphy made the whole difference. Afterward, I could go ahead and customize the stroke endings and the shape of the flourishes. These cannot be achieved with a calligraphic tool and is what sets lettering apart from calligraphy: you can always draw it in a unique way.

Does this mean that you need to master black letter calligraphy to be able to create a black letter inspired lettering? Of course not! But understanding calligraphy is surely a necessary part of creating lettering. A smart lettering artist always has a set of calligraphic tools at hand!.

BTW, today is my birthday. I'm happy to celebrate it with you in this little space! 🎉

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Sparrstraße 20,
13353 Berlin, Germany (by appointment only)
+49 (0) 30 33877574 

Sparrstraße 20,
13353 Berlin, Germany (by appointment only)
+49 (0) 30 33877574 

Sparrstraße 20,
13353 Berlin, Germany (by appointment only)
+49 (0) 30 33877574 

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©2019 Studio Martina Flor. All rights reserved.

 

 ©2019 Studio Martina Flor. All rights reserved.