Together with two fellow students, I created the typeface draft Spigolo during the Spoleto Summer School in 2011. The experiment quickly turned out to be a failure. Nonetheless, I liked some details in it so much, that it led to the idea for a new transitional antiqua: unbracket serifs, wide curves and a closed, round character for literary texts. I started working on Falun in Professor Gertrud Nolte’s class 26+ZeichenSetzen.SchriftEntwurf in 2012.
The openings of the counters as in c or e are rather small, due to the beaks extending deeply into the counters and the lower terminals reaching up far. Closed letter-forms determine the overall appearance of the typeface. Deep seated crotches as in n or r enable the shoulders to run long. Since the upper case letters are defined by less arches than the lowercase ones, the typefaces appears considerably more angular in pure capitalisation.
Falun is the location of E. T. A. Hoffmann’s story “Die Bergwerke zu Falun” (“The Mines of Falun”) from the collection “Die Serapionsbrüder” (“The Serapion Brethren”). The collected stories are presented as unfinished drafts, which are read to each other by the members of a literary circle, who then discuss the particular work constructively. The radio play accompanied some labour-intensive days. The discussions of the Serapion Brethren after one of them read out “Die Bergwerke zu Falun” reminded me a little of our course meetings and Falun, which I had initially chosen as an interims title, remained.
In the beginning, it was difficult to find a coherent shape for the serifs at the baseline of the Italic style, which is only barely developed yet. Eventually, I decided to bring the characteristics of the Regular style forward to the Italic. The legs of the stems, which usually end in a calligraphic push upwards, terminate with an unbracket serif in Falun.
Falun is in a developing stage. Beneath other weights I am working on extending the character set to include the Greek and Cyrillic alphabet. The current state allows to set Russian. A whole set of diacritic marks as well as localised forms for the Serbian alphabet are currently missing. Before approaching that issue, I will implement a slew of corrections Alexei Vanyashin gave me.