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The 4 Basic North American License Plate Font Design Types License Plate Fonts of the Western World Page: North America (2) Why North American License Plate Fonts Look the Way They Do Now that we’ve covered the available replicas of North American license plate fonts (), let’s look at how the fonts were originally designed and constructed and why they look the way they do. Also presented here is a simple classification scheme to make sense of the hodge-podge of different character shape types scattered throughout the various states’ license plate fonts visible out on the highways.
Fonts in graphic design and commercial printing/ publishing vs. License plate fonts. Most typefaces seen on everyday items — such as books, magazines, newspapers, brochures, direct mail pieces, most signage (other than roadway signage), or in internet communications such as email, websites, and PDF documents — are created by and for those with experience in graphic design, commercial illustration, and/or sign painting. License plate fonts, however, are created by those trained as draftsmen, mechanical engineers, or product engineers working with the design of industrial equipment and processes. The approach to font design and creation is considerably different for each. Since the “font mainstream” is defined by those working in graphic design, let’s briefly look at how fonts are designed there, then compare that with how license plate fonts are created.
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Font creation in the graphic design world, past and present. During the decades prior to the shift to personal computers for doing graphic design and print publishing (which began in the mid-1980s), typefaces were drawn by hand. Typically, characters would be drawn either freehand using pencil, ink, and eraser; by cutting shapes on amberlith or rubylith (a semi-transparent mylar-based sheeting) with an X-acto knife; as well as with ruler and compass if appropriate for the particular typeface (those with a more “geometric” look). Then at a later, more technical stage, the drawings or amberlith/ rubylith artwork would be transformed into the printing or typesetting technology of the day. From the first Western printing presses of Gutenberg in the 1400s up through the 1940s or 1950s, this was metal type, after that phototype on film, and still later early electronic digital type in the 1970s and early 1980s.
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Even after the creation of the first digital typeface production system (by Peter Karow of URW in Germany during the early 1970s), typefaces were still usually drawn by hand to begin with, then digitized later. It wasn’t until after the release of Fontographer in 1986 that type designers started converting to digital creation methods en masse. Even now, some designers or certain kinds of typeface designs may still utilize hand-drawn methods as the best way to initially create the artwork for a given style of font before digitizing it. And even where a typeface may be created from scratch mostly digitally, hand-drawn sketches of initial concepts (sometimes quite detailed) to work out the basic design theme and troubleshoot any design issues might be used to begin with.
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Drawing tools and the type of people creating fonts strongly influence their design. In the printing and graphic arts industries, character shapes are often very fluid in nature because of the artistic training or on-the-job experience most professional graphic designers in the business typically have. Even where the type designs are geometrically based, optical adjustments and subtle variations in stroke weight are almost always built in to compensate for the quirks of human perception and refine the appearance to the human eye. In the license plate industry, fonts have been drawn by draftsmen, engineers, or others trained in mechanical drawing, however. Ruler and compass rule, so to speak, so everything has for the most part been drawn highly geometrically. The business of license plates has been the business of blueprints, tool-and-die machines, and industrial equipment driven by a mass manufacturing mindset. Without formal artistic training, the approach to font-making has been mechanically driven because that’s how those who have been in a position to draw them have been trained.