Script handwriting as we know it developed over a long period of time from hurriedly written capitals, the lowercase, and italics.
Learning Curves, is about the style as it appears as a font or carefully drawn lettering. It can be described as a regular-weight, cursive (flowing), connected, leaning letter that appears to be written with a pointed, flexible pen with pressure on the downstroke and release of pressure on the upstroke, which produces hairlines. These letters are drawn, not written.
Doyald stated about Learning Curves, “This book took 5-1/2 years to do. There’s 470 fonts in it. The font that I’ve designed, Young Gallant, anchors the book because what I want to do is to explain to students, beginning students, the basics of formal script. For teachers, for students, for graphic designers to somehow look at all these variations, to get ideas if they’re trying to design a script logo.”
Learning Curves is about the style as it appears as a font or carefully drawn lettering.
Scripts differed geographically, and in eighteenth-century England and France at the dawn of the industrial revolution, they flowered into beautiful shapes. Many of their font descendants are drawn in almost perfect replica of the style. The handwritten form is no longer taught in schools; instead it is practiced by calligraphers primarily for formal occasions and projects.
Doyald’s script fonts, Young Baroque, Young Gallant, Home Run Script, and Eclat are all based on the same basic script form. The form has been greatly condensed, drawn in its most simple manner, drawn bolder and condensed, and expanded and weighted. In each case the contrast between thicks and thins have changed, the slant of the font varied, the bowls joined at different heights, and the “fit” (the width of the connecting thins) varied to fit its proportion and weight.
The four variations are not a strict order of weight, proportion, and angle. Yet the inherent basic concept has not been changed, it is still an ellipsoidal form attached to a stem. Font design is not always dependent on variation of form.
Some of Doyald’s working drawings for the book can be seen here.