David Jonathan Ross: Drawing a really good-looking letter is nice, but the real challenge of my job is figuring out the system: how to draw letters that can be repeated without getting boring, mixed and matched in any arrangement, and woven into a text that erupts in a rhythm of black and white.
TT: How do you get into your creative rhythm?
DJR: For me, getting into creative rhythm is all about getting out of mundane patterns. I’m not sure I would get anything done if I worked 9–5, and wasn’t able to break up my day with meals with my girlfriend and hikes with my dogs.
TT: What speakers are you most looking forward to meeting or hearing talk at TYPO SF?
DJR: Not sure where to start. I’ve admired Aaron Draplin’s work for some time, but have never met him or seen him speak. And I’ve seen Yanone speak and get a kick out of him. This will be my first TYPO (Berlin, San Francisco, wherever) so I’m really just excited to see what it is like.
David Jonathan Ross
Type Designer (Los Angeles)
David Jonathan Ross draws letters of all shapes and sizes for custom and retail typeface designs. He joined The Font Bureau in 2007, and his typefaces include Manicotti and Trilby, reversed stress slabs; Condor, a high contrast sans; Turnip, a rugged bookface; and Input, an extensive family designed for computer programming. David often shares his love of letters through lectures and workshops, and curates Retro Script L.A., a collection of cursive signage in his home town of Los Angeles.
TT: If you haven’t visited SF before, what are you most looking forward to experiencing? If you are familiar with San Francisco, do you have a favorite hangout?
DJR: The last time I was in San Francisco was probably close to a decade ago. I plan on spending most of my time hanging out near the conference. I’m hoping I’ll have time to do some sightseeing driving up Pacific Coast Highway from Los Angeles.
TT: What’s your favorite typeface and why?
DJR: Estro, by Aldo Novarese. I was always taught that a typeface should have one central idea in it. But Estro has a ton of things going on — the reverse stress, the movement, the bounciness — and pulls it off so well.
(Photo courtesy of David Sudweeks)
