Cutting out all of these shapes is slow going, especially the letters that have lots of small sections. For example, here is a progress shot of eliminating the background on the letter ‘C’, which has a lot of detail:


In terms of composition, I’ve realised that the alphabet doesn’t fit very neatly into even rows and columns when arranging them on a piece of paper. As is with my 5 across set up, the ‘Z’ is on its own. I could have punctuation at the end to alleviate this, or I could change the layout so the ‘Z’ is not alone (critical incident). I looked up some other examples of font posters and how they have dealt with the odd number in their composition, some of which are shown below.

Sergey Kolesov “Retro Type“: Uses a square composition and the name of the type to fill the blank corner.


Alessia Avventuroso “Coldi“: Keeps the ‘Z’ orphaned but tries to tie it together to the others through the use of line and the text next to it.


Gary Head “Modular Typeface“: Adds a bonus letter in the second line to make it appear rectangular and even.


Nigel Bents, Paul Oakley and Jonny Holmes “Decorative Bodoni“: Adds text in the blank space and only does 4 across so the ‘Z’ is not alone.


Luc Devroye “Psychadelic-Fillmore West“: All very uneven and landscape as opposed to portrait.


Onionastudio “Hand Drawn Font“: Adds in numbers and symbols to fill the space.

ALOHA SUMER HAND DRAWN FONT - green background

At this stage I’m leaning towards 4 across in an A1 portrait format.