Nina Faulhaber found Aeroplan in a forgotten 1916 book on aircraft engines

I see some parallels there. Both fields have craft elements, requiring both creative freedom and precision. I think the process of cutting into wood can also be related to my work as a type designer through the precise setting of clear digital forms, as well as the search for interesting shapes, compositions, and spaces.

In a second-hand shop I found a small, inconspicuous brown book on aircraft engines from 1916 entitled “Motorschule für Flieger” (“Engine school for aviators”). I particularly liked the unusual format, the extravagant illustrations, and the interesting layout. On the first pages of the book — later the text font changes — I found a somewhat irregular, awkward text font with unusual details in the lettershapes. It is similar to the body types distributed at that time by many foundries as “Mediäval Antiqua”.

I have not been able to determine the exact origin of the typeface. However, the publishing house, Waldheim-Eberle A.G. Wien-Leipzig, had its own foundry that produced  type for in-house use only. Therefore, it’s reasonable to believe that the typeface was produced there, was never advertised outside the publishing house, and has since been forgotten. Due to its unusual characteristics, however, it seemed to me worth digitising, so this was the original inspiration for Aeroplan.

Aeroplan was created as a revival based on a historical source. This process of translation into a new medium itself involved many innovations, so that the design could become a contemporary typeface which nevertheless shows its roots.

Both have their pros and cons. I think the “right way of doing things” depends a lot on the project and the personality of the designer. For me, working with others is often an inspiring, empowering process. The dynamics of having a common project and goal can provide enormous power. But this also requires a good team that works with and not against each other. Too many opinions can also slow down the process extremely and create a feeling of dissatisfaction and stagnation.

Through the collaboration with TypeTogether, the typeface has changed a lot. This process is important to turn a first draft into a finished typeface. Aeroplan has benefited greatly from the feedback and modifications, which have been very careful and have preserved the original character with its awkward, peculiar charm. I learned a lot thanks to this mentorship program, which of course shows in Aeroplan’s overall final form.

Aeroplan has its own character, which I think complements TypeTogether’s portfolio well. The typeface has a certain digital feel and at the same time a playful naïveté, which makes it somewhat stubborn in some parts, but gives it individuality and expressiveness.

The great thing about type design is that the creative process doesn’t end with the publication of the typeface. I’m excited about sending Aeroplan on its journey and seeing what other people do with it. For me, a typeface is not a rigid tool that only works for one purpose, but it is flexible and expandable in different directions. The more surprising and unusual the use, the better!